WEBVTT 00:00.580 --> 00:04.640 So let's talk about the future. Let's talk about what video means 00:05.140 --> 00:08.900 to this industry. And let's talk about how all of us— not one of us— 00:09.400 --> 00:13.520 how all of us are gonna profit. I've been doing theater in 00:14.020 --> 00:17.470 San Francisco, San Diego— not as long as you've been doing stag and hardcore, 00:17.620 --> 00:21.000 Jack. We're all familiar with your biography, Floyd. Floyd, no one is 00:21.500 --> 00:24.160 doubting your credentials or your history. Then why the resistance? 00:24.960 --> 00:28.040 I mean, this industry is gonna be turned upside down 00:28.540 --> 00:32.410 soon enough. Why help it? Why not be prepared? 00:32.910 --> 00:36.250 Colonel's got the money. You got the talent, Jack. I got the connection 00:36.750 --> 00:39.990 to the equipment and the mail-order distribution. Not to mention those kids out there 00:40.490 --> 00:42.540 who are hot fuck action to the max, 00:42.770 --> 00:46.370 Jack. This is the future. Video tape 00:46.870 --> 00:50.040 tells the truth. Wait a minute. You come into my house, 00:50.750 --> 00:54.210 my party, to tell me about the future? That the future 00:54.710 --> 00:58.070 is tape, videotape, and not film? That it's 00:58.570 --> 01:02.329 amateurs and not professionals? I'm a filmmaker. That's why I will never make 01:02.829 --> 01:06.719 a movie on videotape. I'll tell you something else. I will never, 01:06.830 --> 01:10.549 ever loan out any of the actors I have. 01:11.049 --> 01:14.370 Wait, wait, wait, wait. I'm not a complicated man. 01:14.830 --> 01:17.910 I like cinema. In particular, I like to see people fucking on 01:18.410 --> 01:20.830 film. But I don't want to win an Oscar, and I don't want to reinvent 01:21.330 --> 01:24.640 the wheel. I like simple pleasures, like— Butter in my 01:25.140 --> 01:28.740 ass, lollipops in my mouth. That's just me. That's just something that I enjoy. 01:29.240 --> 01:32.520 Call me crazy, call me a pervert, but there's one little thing that I want 01:33.020 --> 01:35.859 to do in this life, and that is I want to make a dollar and 01:36.359 --> 01:39.840 a cent in this business. Jack, 01:40.340 --> 01:43.300 I'm not trying to hurt you. I'm trying to help you stay one step ahead 01:43.800 --> 01:48.480 of the game. We're going in circles now. We're in familiar territory. 01:48.600 --> 01:52.190 The territory we're in is the future. Not to mention the cost. 01:53.090 --> 01:56.210 You know, if it looks like shit and it sounds like 01:56.710 --> 01:57.650 shit, then it must be shit. 02:00.429 --> 02:03.950 It's 2 Dads 1 Movie. It's the podcast where 2 middle-aged dads 02:04.450 --> 02:07.870 sit around and shoot the shit about the movies of the '80s and '90s. 02:08.190 --> 02:11.210 Here are your hosts, Steve Paulo and Nic Briana. 02:12.590 --> 02:16.250 Hello everybody, welcome to another episode of 2 Dads 1 Movie. I'm Steve. 02:16.750 --> 02:20.290 And I'm Nic. And today we are watching Boogie Nights from 1997, 02:21.059 --> 02:24.959 the Paul Thomas Anderson classic about the '70s porno industry. 02:25.459 --> 02:28.600 That's right. Yeah, this is part of our 2 Dads 2 Decades, you know, 02:29.100 --> 02:32.300 journey. And Nic, you brought us Boogie Nights. You brought Boogie Nights to the table. 02:32.800 --> 02:34.360 So why don't we start off? You tell us a little bit about your history 02:34.860 --> 02:38.640 with the movie. Yeah, I saw this on video soon after 02:39.140 --> 02:41.440 it came out. Okay. Not in the theater because it was not at the theater 02:41.940 --> 02:43.820 that I worked at. Oh, there you go. And I would only see the movies 02:44.320 --> 02:46.340 that were at the theater that I worked at because you could not beat the 02:46.840 --> 02:50.080 price. So yeah, I caught this early. Uh, one of our 02:50.580 --> 02:53.520 mutual friends who you were in drama with, Matt Gilbert, is a big fan, 02:54.020 --> 02:57.620 uh, of this and, and made sure to introduce it to us. So we 02:58.120 --> 03:00.599 watched it a bunch, and he's like a big film guy, so a lot of 03:01.099 --> 03:04.279 the, the P.T. Anderson stuff that was happening, he was really into that. I just 03:04.779 --> 03:07.440 thought it was— I was like, this is cool, it looks cool, the acting's good, 03:07.940 --> 03:11.460 you know. Um, but this has always stuck with me as just such an epic 03:11.960 --> 03:16.270 story, and it gets so deep with so many things and is 03:16.770 --> 03:20.530 really just like something that, that builds a world that's always been 03:21.030 --> 03:25.090 so interesting to me and is one of my favorite movies of all time. 03:25.590 --> 03:28.950 And I thought, I got to talk about this on the pod. If we— if 03:29.450 --> 03:31.430 I got to pick a movie for '97, I got to go with my favorite 03:31.930 --> 03:35.210 movie from '97. There you go. Great, great, great choice. Actually, one I 03:35.710 --> 03:38.950 had not seen. I am a very big fan of Paul Thomas Anderson. You know, 03:39.450 --> 03:42.510 I just actually was— I flew to and from New York a few weeks ago 03:43.010 --> 03:44.970 for business, and on, I think, the flight home, I watched One Battle After Another, 03:45.470 --> 03:48.700 which was a ton. It was absolutely spectacular. You know, 03:49.200 --> 03:51.020 There Will Be Blood is one of my favorite movies of all time. Like, 03:51.520 --> 03:54.520 you know, so I love Paul Thomas Anderson. I think he's a spectacularly talented writer-director, 03:55.330 --> 03:58.000 but I just never got around to seeing this one for one reason or another. 03:58.500 --> 04:01.420 So thank you for bringing it to the pod because I got to watch it 04:01.920 --> 04:04.480 this week and really, you know, I got my notes here and I don't want 04:04.980 --> 04:06.800 to give away too much about my feelings about it. But, you know, we'll get 04:07.300 --> 04:10.990 into it in just a minute. Let's start with the facts on Boogie Nights. 04:11.380 --> 04:14.400 The film Boogie Nights was released on October 10th, 1997. I looked this up. 04:14.900 --> 04:16.080 It was actually released on only 2 screens on October 10th, and it was 3 04:16.580 --> 04:20.919 weeks later that it opened wide. So really Halloween of '97 04:21.419 --> 04:25.159 is really when it technically opened wide. It was a very well-earned R rating. 04:25.319 --> 04:28.618 The original cut Anderson had was apparently an NC-17 cut and 04:29.118 --> 04:32.698 he was asked to recut it. It was written and directed by Paul Thomas Anderson, 04:33.198 --> 04:36.519 starring Mark Wahlberg, Burt Reynolds, and Julianne Moore. The scores, we got Rotten 04:37.019 --> 04:40.819 Tomatoes 91% fresh, IMDb 7.9, 04:41.319 --> 04:44.919 just under that kind of elusive 8.0, which is a really very high rating. 04:45.099 --> 04:49.256 And then Siskel and Ebert, pair of thumbs up. Quite a bit of awards action 04:49.756 --> 04:54.033 on this. We got 3 Oscar nominations, though no wins, at the '98 Oscars. 04:54.626 --> 04:58.441 Reynolds was nominated for supporting actor, Moore was nominated for supporting actress, and then 04:58.554 --> 05:01.503 Anderson was nominated for best original screenplay. None of them did win. 05:02.000 --> 05:05.174 At the '98 Golden Globes, Moore was also nominated there but did not win, 05:05.302 --> 05:09.294 but Reynolds did. He won best supporting actor, I believe, in a comedy, because the 05:09.794 --> 05:12.965 Golden Globes break them up that way. And so, yeah, the comedy or musical, 05:12.981 --> 05:16.844 I think, is how they do it. At the 1998 MTV Movie Awards, 05:17.309 --> 05:22.000 there was a win for Heather Graham for Best Breakthrough Performance. 05:22.500 --> 05:26.740 And then Best Dance Sequence was nominated Mark Wahlberg. I'm not sure exactly which dance 05:27.240 --> 05:30.260 sequence was nominated, but yeah, I mean, there's the scene where he's kind of like, 05:30.760 --> 05:34.240 you know, making it and they're discoing it up and they're buying shirts and stuff. 05:34.740 --> 05:36.620 I think that might be it. Well, yeah, talking about his shoes and his shirt, 05:37.120 --> 05:40.840 that must have been it. Yeah. Um, and then at the Stinkers Bad Movie Awards, 05:41.360 --> 05:44.940 uh, nominated for Worst On-Screen Couple were Mark Wahlberg 05:45.130 --> 05:49.509 And I think the way it was worded officially was his 13-inch appendage. 05:50.009 --> 05:53.930 The worst onscreen couple. On a $15 million budget, 05:54.110 --> 05:57.249 the film took in $43.1 million worldwide for 2.9 05:57.749 --> 06:00.650 times what it cost, which is definitely a hit, if not a blockbuster. But this 06:01.150 --> 06:04.810 was obviously a very critically acclaimed film. Yeah. Yeah. All right, 06:05.310 --> 06:07.350 man. All right. How does Boogie Nights kick off? Why don't you get us started? 06:07.850 --> 06:11.270 OK, so kicking off Boogie Nights, I want to just talk about the score 06:11.770 --> 06:14.450 of this movie because I think the pop songs and stuff that they use throughout 06:14.950 --> 06:17.450 this movie, I love. Yeah. I love all the placement of it. I think they're 06:17.950 --> 06:21.369 brilliant, they're perfect. I think the score is so effective and it's really interesting. 06:21.610 --> 06:25.490 This is like kind of morose circus music almost, 06:25.990 --> 06:29.270 like, like very sad kind of organ music that's 06:29.770 --> 06:33.510 playing, which really, I mean, the saddest type of circus style 06:34.010 --> 06:37.650 spectacle is probably the porn industry. Like if you really get down to the 06:38.150 --> 06:41.470 way the animals are treated and everything, not to mention 06:41.970 --> 06:44.790 the people that are in it, if you're into that. So yeah, there's this like 06:45.290 --> 06:49.160 sad circus music, you know, starting off and, And then 06:49.660 --> 06:52.820 all of a sudden we get bright on the screen. It says Boogie Nights and 06:53.320 --> 06:55.999 we get the beginning of that song, The Best of My Love. That didn't it, 06:56.499 --> 07:00.540 didn't it? You know, so we got some grooving music and we have this excellent 07:01.040 --> 07:04.860 where it says San Fernando, San Fernando Valley, 1977. 07:05.360 --> 07:08.680 We have an excellent one-shot scene going from the Boogie Nights sign 07:09.180 --> 07:12.520 and it's taking us down the street and it's taking us into this nightclub where 07:13.020 --> 07:15.480 a lot of the characters that we're going to be hanging out with are all 07:15.980 --> 07:18.400 hanging out. And we should mention real quick that it's on a marquee. It looks 07:18.900 --> 07:22.100 like the Reseda Theater that says Boogie Nights. And that's it for the opening credits. 07:22.200 --> 07:26.400 There is no film by P.T. Anderson. There's no starring Mark Wahlberg 07:26.900 --> 07:29.399 and Burt Reynolds. Like, there's no list of actors. It is just that. And we 07:29.899 --> 07:32.420 are in the movie. This is not a cold open. This is just— this opens 07:32.920 --> 07:35.500 with the least fanfare, I think, of any movie I've ever seen. Yeah, which is 07:36.000 --> 07:39.340 great. But it was very odd to kind of notice that. But one thing I've 07:39.840 --> 07:42.480 noticed as we get into the nightclub, right? Yeah. Get into the nightclub and we 07:42.980 --> 07:46.460 see, you know, I think Burt Reynolds and Julianne Moore show up and walk 07:46.960 --> 07:50.200 in and they're greeted by Luis Guzmán. Plays Mo, Maurice, Maurice, 07:50.700 --> 07:54.119 Maurice. Yep. What I noticed is that I think in the first 5 minutes 07:54.619 --> 07:58.380 of this movie, I think about 5 minutes, every single person who 07:58.880 --> 08:02.080 has a speaking line— and that's— this is coming— my direction from 08:02.580 --> 08:04.160 here is I've never seen this movie before. I didn't even know who was in 08:04.660 --> 08:07.500 it outside of the main stars. I could name every single one of the actors 08:08.000 --> 08:10.800 or actresses that had a speaking line in the first 5 minutes. And I wouldn't 08:11.300 --> 08:13.220 have been able to in 1997. Sure. A lot— for a lot of them, 08:13.720 --> 08:17.050 this was really— yeah, I mean, a lot of them became famous, but The 08:17.550 --> 08:21.489 hits on the character actors in this is unbelievable. Luis Guzmán, Burt Reynolds, 08:21.989 --> 08:26.730 Julianne Moore, John C. Reilly, Don Cheadle, Heather Graham, Mark Wahlberg. 08:27.230 --> 08:29.110 I think that's it. Like for the, for the— oh, and then Bill H. 08:29.610 --> 08:31.950 Macy for the beginning, for the very beginning of the movie. That's just in the 08:32.450 --> 08:35.830 first like 3 to 5 minutes. Those are the people, those 8, 9 people are 08:36.330 --> 08:39.270 the people who had speaking lines. Yeah. And every single one of them was recognizable 08:39.770 --> 08:42.850 and nameable from their face. It's crazy. Which is amazing. Yeah. And we end up 08:43.350 --> 08:45.670 with like 5 more of those as the movie goes on. Oh yeah, absolutely. 08:46.170 --> 08:49.930 So Yeah, so this great scene. So we can see like, you know, 08:50.430 --> 08:53.609 Jack, uh, Burt Reynolds is Jack Horner. He's the big porn producer director. 08:54.090 --> 08:57.390 Amber Waves is Julianne Moore. She's kind of like the main star at the time 08:57.890 --> 09:00.750 and also his, his lady, right? So this— they're like the mom and the dad 09:01.250 --> 09:04.950 of the porn family. Um, so we've got all this scene, 09:05.450 --> 09:08.010 all this glamour, and then we go to the back room of the restaurant to 09:08.510 --> 09:11.850 the dishwasher, right? And we got Mark Wahlberg, and it kind of like freezes on 09:12.350 --> 09:15.930 him, obviously a young kid, and he's washing dishes there. Burt Reynolds goes 09:16.430 --> 09:18.950 back to see him and he starts talking to him. And, 09:19.450 --> 09:22.889 and Mark Wahlberg, whose name is Eddie, he's like, do you want a $5 or 09:23.389 --> 09:26.830 a $10? Yeah. And Jack's like, what are you talking about? Like, you know, 09:27.330 --> 09:30.830 $5 to see it, $10 to watch me jerk it. Yeah. 09:31.330 --> 09:34.830 Yeah. And, you know, so he's obviously famous for his 09:35.330 --> 09:38.390 big hog and people like go to the back room of the restaurant to give 09:38.890 --> 09:41.110 him a little extra cash. And they're like, yeah, let me get a gander at 09:41.610 --> 09:45.260 that thing. There you go. So Jack declines, 09:45.760 --> 09:48.680 but he does say, and I quote, "I've got a feeling beneath those jeans is 09:49.180 --> 09:52.820 something wonderful just waiting to get out," uh, which is how my wife talks 09:53.320 --> 09:56.260 to me generally. Oh, good for you. Yeah, most of the time she's talking about 09:56.760 --> 10:00.160 a stain. Oh, but, um, so we 10:00.660 --> 10:03.740 have a few people go home after— in the bar, like, Eddie heads out after 10:04.240 --> 10:07.740 the, the place closes and everybody else is kind of leaving. And, um, we see, 10:08.240 --> 10:11.820 uh, Amber and Jack go home, and Amber actually gets on the phone after doing 10:12.320 --> 10:14.160 a little coke and, like, is trying to— wants to call, you know, it's like 10:14.660 --> 10:17.040 late at night, like, it's got to be like 2 AM. Yeah. And she's calling 10:17.540 --> 10:20.400 her ex-husband asking to talk to their son. But of course, the kid's got to 10:20.900 --> 10:23.540 be asleep. And she's like kind of like freaking out about it. And we get 10:24.040 --> 10:27.380 a little touch of her situation, which is clearly, you know, she's divorced and her 10:27.880 --> 10:30.140 ex has custody, it seems. And so, you know, it's a little bit of a 10:30.640 --> 10:34.040 rough thing for her, obviously. Little Bill, played by William H. Macy, goes home. 10:34.540 --> 10:36.920 He's like— I can't tell if his job is sort of like line producer or 10:37.420 --> 10:40.400 something with the company. Like he does the sort of stage management stuff. Yeah. 10:40.900 --> 10:44.020 He's not the DP because that's another guy. But he's like some kind of producer, 10:44.520 --> 10:47.899 right? Basically. Um, and so I think maybe Jack's the director, Little Bill's the 10:48.399 --> 10:50.980 producer. Yeah, that makes sense. Yeah. But he goes home, and when he gets home, 10:51.480 --> 10:55.020 he can hear sex happening somewhere inside, and he, uh, 10:55.520 --> 10:58.140 goes and walks in on his wife having sex with somebody. His wife played by 10:58.640 --> 11:02.180 actual porn actress, uh, Nina Hartley. Yes, someone else that I could have named by 11:02.680 --> 11:06.000 their name, uh, without admitting it to my wife. But yeah, a classic. But, 11:06.500 --> 11:08.540 uh, but you know, he's basically just like, what are you doing? And she's like, 11:09.040 --> 11:11.590 could you close the fucking door? Like, there is this clear— that's so much disrespect. 11:11.680 --> 11:14.880 So much disrespect. She has no give a shit about Little Bill at all, 11:15.380 --> 11:19.440 uh, and he just leaves. Yeah, William H. Macy is the most disrespected actor. 11:19.940 --> 11:22.480 Like, he's so good at that role of the guy who's the most— like, 11:22.980 --> 11:25.720 imagine him playing, uh, Vince Vaughn's character in Swingers. 11:25.840 --> 11:28.760 Yeah, no, that wouldn't work. Like, that's just like— that's not— just give him those 11:29.260 --> 11:31.920 lines and see how good he could do it. Yes, well, he could do it 11:32.420 --> 11:35.620 because he's Bill Macy, but yeah, that's true. We have everyone's kind of like sad 11:36.120 --> 11:39.420 home life, and we have Eddie. He comes home and he— oh, we, we're talking 11:39.920 --> 11:43.330 about great bedrooms. Yeah, we got to point out he's got some nice posters 11:43.830 --> 11:46.950 on the wall. He's got Bruce Lee and Serpico and stuff, but he's clearly a 11:47.450 --> 11:50.050 teen who's living with his parents, right? So he's got this bedroom in his parents' 11:50.550 --> 11:53.830 house, and then he's, uh, doing one of the things that makes you the coolest, 11:54.330 --> 11:57.350 is just doing air karate in front of the mirror in a Speedo. 11:57.420 --> 12:00.370 And, uh, you know, we don't see the actual hog. We can see it slightly 12:00.870 --> 12:04.070 behind some fabric, but I think it's slightly larger than average, folks. 12:04.570 --> 12:07.470 Stay tuned. It's pretty, pretty big. Uh, we then cut to a record, 12:07.970 --> 12:10.810 like a stereo store, where, uh, Don Cheadle's character Buck Swoopes is, uh, trying to 12:11.310 --> 12:14.640 sell this hi-fi system to a customer. And I 12:15.140 --> 12:18.200 love this, he keeps referencing the TK-421 modification. 12:18.499 --> 12:22.130 That is a Star Wars reference. Oh, okay. Because in Star Wars, 12:22.439 --> 12:25.800 when Han Solo and Luke Skywalker steal the stormtrooper outfits 12:26.300 --> 12:29.700 on the Death Star to try to rescue Princess Leia, there is another stormtrooper 12:30.200 --> 12:33.540 who calls through and like, "TK-421, why aren't you at your post? TK-421, where are 12:34.040 --> 12:35.960 you?" And that's, and it's like, "Oh, hey, we're here, sorry." You know, and they 12:36.460 --> 12:39.000 try to like communicate. But yeah, so that is a Star Wars reference, which I 12:39.500 --> 12:42.920 think, this is because later we hear, we hear this is '77 and 12:43.420 --> 12:46.500 we, and you know, late in '77, I guess, because that movie came out early 12:47.000 --> 12:50.020 in '77. And we hear other characters talk about watching Star Wars a bunch. 12:50.520 --> 12:52.539 So I think Buck is just making shit up as he goes because there's no 12:53.039 --> 12:55.119 money. He just wants to sell somebody extra and he's just making up. So he 12:55.619 --> 12:58.040 just thinks of that, which is great because it just shows that Buck himself is 12:58.540 --> 13:01.800 a Star Wars fan. And Buck, the Don Cheadle character, kind of a recurring theme 13:02.300 --> 13:05.240 throughout the movie is he can't settle on like a look. Yeah. And he's always 13:05.740 --> 13:08.940 going for these really strong, like these extreme looks. So he's in this kind of 13:09.440 --> 13:12.960 country and western, like polyester button-up shirt look 13:13.460 --> 13:16.879 right now, which is very funny. So he's trying to sell the stereo to this 13:17.379 --> 13:19.980 guy and he's saying that it pumps out 3-4 quads per channel, which I'm not 13:20.480 --> 13:23.040 a sound guy but that sounds like a lot. It's not a thing! And he's 13:23.540 --> 13:26.480 just kind of— He's grooving, he's like oh you know, 13:26.540 --> 13:29.480 "you'll have to hear it for yourself." So he plugs his eight-track in and it's 13:29.980 --> 13:31.920 just like ba-da-dum da dum duh duh duh. Oh terrible. You know? And he's just 13:32.420 --> 13:34.920 like grooving to it, right so... It's not even good, not that there was a— 13:35.420 --> 13:36.740 Look, I'll be honest, there was a time in my life when I was into 13:37.240 --> 13:38.940 country music and in the '90s I think there actually was kind of a lot 13:39.440 --> 13:42.620 of decently good country music. Kenny Chesney and Tim McGraw and like, you know, 13:43.120 --> 13:46.260 Alan Jackson. There was some fun stuff pre-9/11 when they all got weird. Uh, 13:46.760 --> 13:49.840 but in the '70s, country music was pretty terrible outside of Johnny Cash. Name for 13:50.340 --> 13:52.740 the time. That's what I'm saying, you know. So like, not even Conway Twitty in 13:53.240 --> 13:56.820 that time. Exactly, dude. So, so, and then Buck kind of gets 13:57.320 --> 13:59.680 berated by his boss. He's like, what the fuck was that? Hey, I thought your, 14:00.180 --> 14:02.600 your acting would bring some good pussy into this place, which is how I talk 14:03.100 --> 14:06.560 to my employees. Um, but it's kind of like each of our 14:07.060 --> 14:09.080 characters as we're going through this, everyone just being degraded in their life that exists 14:09.580 --> 14:12.700 outside of like the porn world. Yep. Yeah. 14:13.200 --> 14:16.599 Right. The next one we have is we have Roller Girl, and she's clearly 14:17.099 --> 14:21.039 a high school student. Heather Graham. Heather Graham. She wears roller skates all the time, 14:21.539 --> 14:24.660 does not take them off. And she's like sitting there in class taking a test. 14:25.160 --> 14:29.000 And this guy turns around and starts doing like the dick sucking pantomime 14:29.500 --> 14:31.980 to her in a way that makes him look so much worse than it could 14:32.480 --> 14:34.660 ever make the person he's doing it to. And he keeps— and then he keeps 14:35.160 --> 14:38.280 mouthing, I love to suck cock at her, which is like, I guess he's saying 14:38.570 --> 14:42.170 you do, but he is saying literally, I do, which is like, okay buddy, 14:42.670 --> 14:45.430 good. Maybe he was trying to bond. Maybe he was like, oh hey, I'm new 14:45.930 --> 14:48.849 to the school, I also love to suck cock. But yeah, so she gets upset 14:49.349 --> 14:52.750 and skates out of class, you know. So everyone's like, 14:53.250 --> 14:56.640 just their life outside of the porn world is dog shit. We should also mention, 14:56.850 --> 14:59.670 so Eddie has told Jack that he's 17. We've now seen the roller girl is 15:00.170 --> 15:03.210 in high school. We learned from, uh, there was a moment, uh, Eddie was at 15:03.710 --> 15:06.090 breakfast with his parents and talking about having to get to work, and his mom 15:06.590 --> 15:09.030 says you know, what about school? And it's clear he's dropped out of school. 15:09.090 --> 15:11.410 Yeah, right. So these are not, you know, people who are like kind of on 15:11.910 --> 15:15.130 the up and up. But these— I, they never really talk about Roller Girl and 15:15.630 --> 15:19.070 Eddie being under 18 at the beginning of this, but I, I, I'm not 15:19.570 --> 15:23.630 sure why that doesn't matter, but apparently it doesn't. Uh, it just never becomes a 15:24.130 --> 15:27.290 part of the story. But they are clearly— well, okay, Roller Girl could be 18 15:27.790 --> 15:30.260 if she was, you know, yeah, in her senior year and kind of like maybe, 15:30.270 --> 15:32.830 okay, fine. But like Eddie says he's 17. Like, to me, that I'm pretty sure 15:33.330 --> 15:35.850 that's, that's what they got into so much trouble with Tracy Lords, right, when she 15:36.350 --> 15:39.670 was, you know, under 18. It really seems like their minds in this movie, 15:40.170 --> 15:42.990 16 is their cutoff, which is not correct, but it seems like that's just the 15:43.490 --> 15:46.810 given in this. But yeah, it is interesting they don't ever mention that. 15:47.270 --> 15:50.670 Yeah. Um, Eddie is, uh, he's home now and he's got his girlfriend 15:51.170 --> 15:54.690 with her, and you know, he's banging his girlfriend and all she cares about 15:55.190 --> 15:57.950 is this hog. Is she— seem older? Is she supposed to be like in her 15:58.450 --> 16:01.450 late 20s or something? I guess that, yeah, that, that's the vibe I got, 16:01.950 --> 16:04.910 you know. And she is not into anything, but he's trying to like goof around 16:05.410 --> 16:07.490 with her a little bit, you know. She's like, oh, get out, and he's just 16:07.990 --> 16:11.250 like Everybody was blessed with one special thing. I'm going to be a star. 16:11.750 --> 16:14.909 I'm going to be a big shining star. Right. So, you know, he's getting really— 16:15.409 --> 16:17.990 he's getting really proud. This is the first time we hear from a character that 16:18.490 --> 16:21.210 not only does Eddie have a big cock, but he fucks good. Like, basically, 16:21.710 --> 16:24.530 you're good at fucking me, basically, she says. And, you know, it's like that's outside 16:25.030 --> 16:27.210 of an actual porno. We're not going to really see that in a movie like 16:27.710 --> 16:30.210 this. So we do have to have characters tell us like, hey, that was really 16:30.710 --> 16:33.430 great. Good for you. That was wonderful. But we're being told, yeah, Eddie apparently has 16:33.930 --> 16:37.660 quite a gift here.— that he's able to— And his home life is miserable. 16:38.160 --> 16:41.010 Like, his mom and his dad are just so at odds with each other. 16:41.739 --> 16:45.000 His mom is up his ass about, you know, you're a loser, like really in 16:45.500 --> 16:48.620 his face and stuff. Yep. So it's not good. 16:49.120 --> 16:52.560 So he's back at work and he ends up 16:53.060 --> 16:56.720 doing the dishes and Roller Girl is sent back to kind of like audition him. 16:57.220 --> 17:00.780 Yes, exactly. Right. Yep. So she goes down on him. She goes down on him. 17:00.810 --> 17:03.800 And then when he's walking home from work or walking to the bus station, 17:04.070 --> 17:06.989 Jack's car kind of slows down next to him. Roller Girl sticks her head out 17:07.489 --> 17:10.870 and she says, do you remember me from a couple hours ago? He's like, 17:11.370 --> 17:14.830 yeah. So Eddie gets in the car, 17:15.330 --> 17:17.850 goes with them back to Jack's house. They're hanging out for a little while and 17:18.350 --> 17:21.650 Jack is basically telling Eddie what he does. You know, I make adult movies. 17:21.730 --> 17:23.890 This is what we do. People fuck in my movies. But I really want to 17:24.390 --> 17:27.170 make movies that like, you know, when people are done in the theater jerking off 17:27.670 --> 17:29.650 that they have to actually stay and like hang out. Right. He wants— I want 17:30.150 --> 17:32.360 to make different kinds of movies kind of thing. Um, which is, which is, 17:32.860 --> 17:36.099 you know, kind of cool. Um, and then, uh, then they go, well, 17:36.599 --> 17:37.779 then they go to Jack's house. I think that was at a diner. They were 17:38.279 --> 17:41.879 at a diner, right? Initially. Yeah. And Jack, he's using the weirdest phrases 17:42.379 --> 17:45.820 here. He says something about the juices in the Mr. Torpedo area 17:46.320 --> 17:49.740 in the fun zone. Trying hard not to say the 17:50.240 --> 17:54.100 words. So, you know, like kind of the lore about this is that Burt Reynolds, 17:54.600 --> 17:57.100 I guess after the fact, wasn't happy with this. Uh, 17:57.540 --> 18:00.950 movie. Like, he, he was like, regretted that he was a part of it or 18:01.450 --> 18:04.570 whatever. And like, he had issues with P.T. Anderson during it. So I wonder if 18:05.070 --> 18:07.590 sometimes he was like, yeah, we need you to say cock and dick. He's like, 18:08.090 --> 18:10.890 no, I'd rather say the Mr. Torpedo area, thank you very much. Yeah, I did 18:11.390 --> 18:14.350 read that. And actually, I read that since then Reynolds has done a 180 on 18:14.850 --> 18:18.150 that, actually. And in more recent interviews had said that 18:18.650 --> 18:20.710 he thought it was a wonderful movie and he was proud of having been in 18:21.210 --> 18:24.400 it. So I hope he, I hope he came around. I hope he came around. 18:24.930 --> 18:27.900 Um, so we're back at, we're back at, uh, Jack's house, and Jack is is 18:28.400 --> 18:30.960 having Eddie and Roller Girl— okay, let's do it in front of me and see 18:31.460 --> 18:34.940 if you're ready to do it. Uh, this is 18:35.440 --> 18:38.599 like what's really funny in the movie, and it makes it difficult because it is 18:39.099 --> 18:42.259 vulgar, but the way that they're so casual talking about anything. 18:42.400 --> 18:46.000 And Roller Girl's like, I don't want you to fucking come inside me. And then 18:46.500 --> 18:48.420 it shows Jack, and he's just has a cigar in his hand, and he's just 18:48.920 --> 18:52.040 like, aim it at her tits, Eddie. No, but it's not come inside. She's— he 18:52.540 --> 18:54.140 says, are you gonna take the roller skates off? She goes, I never take the 18:54.640 --> 18:57.480 roller skates off, please don't come on And that's— and I think that's what he— 18:57.980 --> 18:59.640 I'm trying to come on the road, come to roller skates, I think is what 19:00.140 --> 19:01.900 she said. Maybe I misheard it, but that's what I thought she was saying. 19:01.940 --> 19:05.100 It's like, don't come on the roller skates. But yeah, they have to— yes, 19:05.600 --> 19:08.180 be directed. I mean, look, Jack's a director. He's going to direct the performers in 19:08.680 --> 19:11.860 what they're supposed to do. Yeah. Um, so this gets Eddie home in the 19:12.360 --> 19:15.760 morning, right? I mean, it's, it's now the morning light is shining and mom's waiting 19:16.260 --> 19:19.560 up. It's like Karen and her mom in Goodfellas. Oh my God, same kind of 19:20.060 --> 19:23.180 waiting up, right? And there's a bottle next door. She's obviously fucking hammered. 19:23.680 --> 19:26.930 Yeah, exactly. And so, and so she's fucking pissed and she You know, it's basically 19:27.430 --> 19:29.850 telling him how stupid he is now. He'll never amount to anything. And she starts 19:30.350 --> 19:32.930 ripping fucking posters off his walls, all this stuff. And he goes, well, I'm going 19:33.430 --> 19:35.369 to get my things and go. And she's like, you don't— none of this is 19:35.869 --> 19:37.549 yours. This all belongs to me. So if you're going to leave, you leave with 19:38.049 --> 19:40.170 what you have and you never come back. So he does. He fucking just wearing 19:40.670 --> 19:43.530 the clothes on his back, runs out the door. Yeah. And makes his way back 19:44.030 --> 19:47.690 to Jack's house. And this is great Wahlberg, I think, like the emotions in this 19:48.190 --> 19:50.950 fight. And he is like screaming and there's spit flying out of his mouth and 19:51.450 --> 19:54.840 everything. And like, at this time, Mark Wahlberg was not 19:55.340 --> 19:58.460 known to be like a really great actor. He hadn't done much. He might've done 19:58.960 --> 20:01.380 Fear by now or something. Did you hear the story about how he got the 20:01.880 --> 20:06.159 role? No. So Anderson wanted Leonardo DiCaprio. Okay. So Anderson saw Basketball 20:06.659 --> 20:10.720 Diaries and wanted Leonardo DiCaprio, and DiCaprio wanted to do it. And then DiCaprio signed 20:11.220 --> 20:14.400 on to Titanic, and DiCaprio decided he couldn't do both. That wasn't 20:14.900 --> 20:17.620 Cameron telling him that, that wasn't Anderson telling him that. DiCaprio decided, if I'm gonna 20:18.120 --> 20:21.230 do Titanic, I can't also do this other picture. So he did Titanic. Obviously that 20:21.730 --> 20:24.850 exploded DiCaprio's career. So he's going— DiCaprio now says, 20:25.350 --> 20:28.910 apparently, this is allegedly whatever I read about this, that he now wishes he'd 20:29.410 --> 20:31.470 done both. One of the biggest regrets he's ever— that in his career that he 20:31.970 --> 20:35.790 still has is not doing Boogie Nights, that he wishes he had. But he recommended 20:36.290 --> 20:39.830 Wahlberg because Wahlberg was also in Basketball Diaries, and Leo and Mark got along so 20:40.330 --> 20:42.590 well that when Anderson came to him and Leo said, I can't do this, 20:43.090 --> 20:45.650 I'm doing Titanic for Jim Cameron, he said, you should talk to my buddy Mark. 20:45.810 --> 20:48.070 He was great in Basketball Diaries. I think he'd be great in this. You should 20:48.570 --> 20:51.310 talk to him. That's why Mark Wahlberg is in this movie. Damn. And this is 20:51.810 --> 20:55.669 the movie that made Mark Wahlberg's career. Yeah. So Mark Wahlberg owes almost everything 20:56.169 --> 20:59.830 he has to Leonardo DiCaprio. But well, because, because Wahlberg— 21:00.330 --> 21:03.010 there's parts of this, I think we talked about this a little bit during like 21:03.510 --> 21:07.010 Starship Troopers, where you cast somebody because they're 21:07.510 --> 21:10.690 going to give you the performance that you want and they don't necessarily need to 21:11.190 --> 21:13.310 understand that that's what they're doing. Right. You know what I'm saying? I do. 21:13.810 --> 21:17.500 Yeah. So, so Mark Wahlberg being a little inexperienced experienced, 21:18.000 --> 21:20.500 and the different emotions, the ranges that he has to have in this movie are 21:21.000 --> 21:24.780 perfect just based on his background, right? Like, he's a white rapper from Boston who 21:25.280 --> 21:28.020 has a much more famous older brother, so he's gonna have the chip on his 21:28.520 --> 21:30.820 shoulder. He's gonna be able to freak out. He's going to be able to be 21:31.320 --> 21:34.880 like insanely egotistical and all these things. So like, this scene, 21:35.380 --> 21:38.560 it's almost like him being young and immature, I think, helped him like do that 21:39.060 --> 21:41.860 scene better where he's fighting with his mom. Well, I think it's, it's clear that 21:42.360 --> 21:45.420 at this point in his career, Wahlberg's not got a lot of subtlety with his 21:45.920 --> 21:48.340 acting. Yeah, it's, it's all this way or all that way or all that which 21:48.840 --> 21:52.679 works when, you know, he's mimicking the, the acting proficiency of a porn actor. 21:53.179 --> 21:55.179 It works. But this is the scene where Anderson probably told him, I mean, 21:55.679 --> 21:58.340 I'm guessing here, but like, go ahead and let it go. Like, just, just, 21:58.840 --> 22:01.980 just be destroyed. Like, this is your mom telling you you're worthless. 22:02.480 --> 22:05.320 So just be destroyed. Let that go. Let it— because he's able to just like 22:05.820 --> 22:09.540 dig in and just be crazy emotional, snot and spit and stuff coming 22:10.040 --> 22:12.660 out. I mean, like, he's going for it. I just don't think he does subtlety 22:13.160 --> 22:15.260 very well. And there's really no place in this movie where we get a lot 22:15.760 --> 22:19.300 of subtle stuff. You know, but, but it works for this. Certainly good call, 22:19.800 --> 22:22.059 good direction from Anderson, you know, the whole deal. And Wahlberg, look, he pulls it 22:22.559 --> 22:25.180 off. Like, whatever you think, I have never considered Mark Wahlberg to be a particularly 22:25.680 --> 22:28.880 talented actor. He's got strengths and weaknesses like everybody. He's never been on like 22:29.380 --> 22:32.220 any of my lists of like, oh, this guy's fantastic. But this is definitely a 22:32.720 --> 22:35.100 movie where it's like, oh, okay, no, this dude can definitely fucking act. Like, 22:35.600 --> 22:39.540 there's no denying that he can act. So yeah, for sure. And it's like, 22:40.040 --> 22:43.520 it does great in this. Great, uh, great choice. And sorry to Leo. It would 22:44.020 --> 22:45.980 have been weird with Leo though, you know. It would have been a different film. 22:46.480 --> 22:50.040 Um, so I like the film, the technique here. 22:50.540 --> 22:53.659 So we have this crazy emotional fight and he leaves his mom's. It's like fucking 22:54.159 --> 22:57.720 just nightmare. And then we have Eddie, who apparently has just 22:58.220 --> 23:00.980 walked all the way to Jackson, took a bus, whatever, but taken, you know what 23:01.480 --> 23:04.280 it's like trying to take a bus. It's taken forever. And he rolls up there 23:04.780 --> 23:08.420 and then we get some levity here. And it's this great, beautiful scene of Jack's 23:08.920 --> 23:12.370 pool party. And Eddie gets to meet one of our favorite characters, 23:12.460 --> 23:15.750 Reed Rothschild, played by John C. Reilly. The wonderful John C. 23:16.250 --> 23:19.790 Reilly. He's got Step Brothers energy with any co-star. 23:20.290 --> 23:24.089 I mean, he's so— him and Wahlberg would have been like a decent, 23:24.589 --> 23:27.290 you know, version of that too, like the way that they get along together. 23:27.589 --> 23:30.850 And this interaction is so funny. So Reed is there at the bar and 23:31.350 --> 23:34.490 he's mixing up frozen margaritas as he's kind of talking to him. They're like, 23:34.990 --> 23:36.890 oh, this is Eddie, he's the new kid, you know, whatever, new kid on the 23:37.390 --> 23:39.590 street. And he's talking to him, he's like, oh, so how much, uh, how much 23:40.090 --> 23:42.600 do you lift? You know, how much you bench and everything, and having this conversation. 23:43.380 --> 23:46.090 Um, he says, yeah, you know, have you ever seen Star Wars? A lot of 23:46.590 --> 23:50.269 people tell me I look like Han Solo, and this is ridiculous. And he goes, 23:50.769 --> 23:54.410 really? Like, and at one point Reed says, uh, oh, when you work out, 23:54.910 --> 23:57.370 do you ever go to Vince's? Uh, oh no, I would have seen you, 23:57.490 --> 24:01.330 I'm there every day. All his lines, he fired off like 24:01.830 --> 24:05.110 10 amazing lines in a row, just such a short part. But the friendship 24:05.610 --> 24:09.030 between Reed and Eddie, yeah, is a, is a great part 24:09.530 --> 24:12.700 of this film. It sparks, and it sparks off so fast. It's really— they really 24:13.200 --> 24:16.379 hit it off right away. By the midway through and all this stuff, midway through 24:16.879 --> 24:20.619 this party as it's picking up, they're hanging out together. So it's instant bros, 24:21.119 --> 24:24.340 uh, which is great. We now meet another character who we've seen before. You mentioned 24:24.840 --> 24:28.580 this when we watched The Ref. Um, this guy, The Colonel, plays a character in 24:29.080 --> 24:30.900 The Ref that's like one of the rich assholes in town, which is the only 24:31.400 --> 24:33.420 thing I've ever known him for. But you mentioned that he's The Colonel, uh, 24:33.920 --> 24:36.000 here in, in Boogie Nights. So he shows up and he's like the He's not 24:36.500 --> 24:38.240 a producer, but he's like the money man. The financier, yeah. Yeah, he's like the 24:38.740 --> 24:42.180 finance guy behind all of Jack's movies. 24:42.220 --> 24:45.440 He shows up with a rather young looking, 24:45.940 --> 24:49.120 very skinny blonde girl, you know, and she immediately is like, "Is there 24:49.620 --> 24:51.860 coke at this party? Can I have some coke please?" And she finds a dude 24:52.360 --> 24:56.100 with a mirror full of coke and goes to do that. Then there's, 24:56.600 --> 25:00.000 oh, I wanted to say, somebody, I think it was 25:00.500 --> 25:04.000 Reed jumps in the pool first. And does like some whatever. And then, and then, 25:04.500 --> 25:07.679 uh, Eddie goes, check this jackknife. And he doesn't do it. He doesn't do a 25:08.179 --> 25:10.540 jackknife at all. I was super pissed about that. I was really— letters to Pete. 25:11.040 --> 25:13.390 I was like, literally right here, that was not a jackknife. It's in my notes. 25:13.560 --> 25:17.060 It definitely wasn't a jackknife, but was it Eddie's perfect 25:17.560 --> 25:20.780 version of what that character would think a jackknife is? No, 25:21.280 --> 25:24.620 it was really funny. But them competing in the pool is so funny. Um, 25:25.120 --> 25:28.040 we've got Maurice and Buck, so Don Cheadle, Buck, 25:28.070 --> 25:31.730 and he's again in like a crazy outfit. And Maurice is 25:32.230 --> 25:34.869 like, you know what I say, man? Wear what you dig. And they both have 25:35.369 --> 25:38.220 these insane open shirts, like, hanging out there talking. 25:38.910 --> 25:42.849 Really fucking funny. This is probably the best open shirt movie of all time. 25:43.349 --> 25:46.130 Yeah, for sure. And then we got Little Bill, 25:46.150 --> 25:49.670 William Macy, who's looking for— for his wife. Wife, 25:50.170 --> 25:53.930 right? And his wife is just laying down on the driveway getting 25:54.430 --> 25:57.970 fucked by this guy as there's like 30 people standing around watching. And he 25:58.470 --> 26:00.990 walks up to her and he's like, what the fuck? And she's like, go away, 26:01.490 --> 26:05.050 Bill, you're embarrassing me. So crazy. 26:05.550 --> 26:07.370 And then there's this conversation between him and— I don't know the character's name, 26:07.870 --> 26:12.159 but he's the director of photography. Oh yeah, okay, well, that's the real actor. 26:12.249 --> 26:15.610 Okay, he's in Rounders. Oh yeah, exactly, yes. But he— 26:16.110 --> 26:18.210 they're chatting about the next shoot they're gonna do, and Jack wants to keep it 26:18.710 --> 26:20.570 minimalist. He's like, well, that takes a lot of lighting. So he's like, no, 26:21.070 --> 26:23.830 no, no, he means minimalist, not natural. So he's looking to to do it as 26:24.330 --> 26:27.010 cheaply as possible is basically the argument. 'Cause it talked a lot, I think even 26:27.510 --> 26:29.109 Jack mentioned when he was talking to Eddie, you know, you pay $20,000, $25,000, 26:29.140 --> 26:32.520 $30,000 to make a movie 'cause they're talking about film and developing all this stuff. 26:32.690 --> 26:35.770 And this conversation between the two of them, I just had a note here that 26:36.270 --> 26:38.710 like, this is like, Paul Thomas Anderson is like my idol when it comes to 26:39.210 --> 26:42.550 dialogue. Like anytime he gets two characters together talking in any of his 26:43.050 --> 26:45.830 movies, it's a delight. Like it's just abs— and the way these two are back, 26:46.330 --> 26:48.330 and this is again also a testament to the actors. I mean, William H. 26:48.830 --> 26:52.010 Macy is just one of my favorite actors of all time. They are just so 26:52.510 --> 26:55.340 natural talking to each other, talking about this with, You know, they cut each other 26:55.840 --> 26:59.660 off in little ways. They don't finish thoughts. There's subtext. They kind of talk about 27:00.160 --> 27:02.440 what they're thinking. They don't say what they're thinking. There's all these little things that 27:02.940 --> 27:06.800 it makes it so natural feeling. And it's just an example of why Anderson— 27:07.300 --> 27:09.899 I mean, this movie got made because the screenplay was written and was passed around 27:10.399 --> 27:13.660 Hollywood for 10 years before it got made. And it was just became famous as 27:14.160 --> 27:18.060 a script that people liked. Yeah. And then Anderson got to make Hard Eight and 27:18.560 --> 27:21.540 they— the studio stole it back from him. Basically, it was almost an Alan Smithee 27:22.040 --> 27:23.880 situation. He never took his name off it, but he was pissed at the final 27:24.380 --> 27:27.780 cut. So he got final cut on Boogie Nights because And finally, Michael DeLuca at, 27:28.280 --> 27:30.800 I think, New Line or whoever made this was like, I love this script enough, 27:30.819 --> 27:32.720 I'll give you $15 million. Can you make it for $15 million? He's like, 27:33.220 --> 27:35.760 I can fucking do anything you want for $15 million. And he did. He said, 27:36.260 --> 27:38.280 but I got to have final cut. Yeah. Which they never— I mean, he was 27:38.780 --> 27:41.360 26 years old. Yeah. For like, he didn't have a hit under his belt. 27:41.860 --> 27:44.440 Yeah. He had a movie that cost $3 million and made $200 grand because the 27:44.940 --> 27:47.580 studio fucked it. Yeah. And Hard Eight's not a bad movie. It's John C. 27:48.080 --> 27:51.260 McGinley, Philip Baker Hall, Philip Seymour Hoffman, Samuel L. Jackson. 27:51.760 --> 27:54.320 Like, that's a good movie too. But they screwed the cut and it was like, 27:54.820 --> 27:57.110 whatever. So the fact that he even got to make this movie is crazy, 27:57.610 --> 28:00.780 but it all came from— he wrote— sorry, I'm getting some backstory here, 28:01.009 --> 28:03.950 but like Anderson wrote and directed The Story of Dirk Diggler, The Legend of Dirk 28:04.450 --> 28:05.470 Diggler. Right. It's a short. It's like a short film. He did it in high 28:05.970 --> 28:09.290 school. He was in high school when he made that. And it's kind of mimicked 28:09.790 --> 28:13.570 in the scenes where Amber is making a documentary and Dirk is talking or 28:14.070 --> 28:16.790 whatever. Like that's kind of how it's— and it itself was based off of a 28:17.290 --> 28:19.930 documentary on John Holmes. And that's obviously Dirk Diggler is kind of based on John 28:20.430 --> 28:22.900 Holmes in a lot of ways. And so, you know, Anderson had been writing this 28:23.400 --> 28:27.259 script for 10, 15 years by the time it actually got bought, 28:27.460 --> 28:30.560 you know? And it's just kind of, but it's so obvious why, 28:30.980 --> 28:35.360 because he's so good at making believable people do 28:35.860 --> 28:39.160 believable but crazy things, you know what I mean? And make choices 28:39.660 --> 28:42.380 that you go, "That was fucking terrible." But you know, I can see exactly why 28:42.880 --> 28:45.460 he did that. It makes a lot of sense. It's just such good dialogue and 28:45.960 --> 28:49.030 character. Anyway. Moving on, I think we're about to meet another one of our super 28:49.530 --> 28:53.629 high-end actors in this movie. Yeah, so, so real quick is we have— 28:54.129 --> 28:57.109 before we meet, because it's important is how they're met. So we've got the girl 28:57.609 --> 29:00.609 who asked about the coke. Yes, who came with the Colonel, right? Now she is 29:01.109 --> 29:04.830 OD'd. We've got this guy just fucking freaking out. The Colonel with him has 29:05.330 --> 29:09.290 like one of the best like Italian goomba fucking sidekick 29:09.790 --> 29:12.490 henchmen that I've ever seen, dude. He looks good. He's not out of place. 29:12.510 --> 29:15.690 In Goodfellas anywhere. And he comes over and 29:16.190 --> 29:19.790 he's smacking this guy around. The guy's like, the guy's like, I think she 29:20.290 --> 29:23.250 OD'd. And the colonel's like, oh, you think so, doctor? She's got blood like running 29:23.750 --> 29:27.390 down her face and everything. But what they do is this guy and the colonel's 29:27.890 --> 29:31.050 henchman, Jack says, all right, take her out of here, take her through the back 29:31.550 --> 29:34.850 door. So they're carrying this body out, and as they're walking through the gate, 29:35.350 --> 29:37.890 then we get one of our favorite character actors of all time, Philip Seymour Hoffman. 29:38.390 --> 29:40.850 I mean, he was at this time Philip Seymour Hoffman, but he became, I mean 29:40.860 --> 29:43.820 died way too young. Amazing actor, 29:44.320 --> 29:47.480 like Daniel Day-Lewis level, you know, Gary Oldman level, kind of like 29:47.980 --> 29:51.200 crazy good actor. Uh, but yeah, he plays Scotty J, who's, uh, the boom mic 29:51.700 --> 29:54.940 guy. So I guess that's a grip, I believe is the term. I'm not positive, 29:55.440 --> 29:58.560 I might have that bad. Um, but yeah, like it's, uh, you know, they're, 29:58.860 --> 30:02.460 they're— he walks into the back, you know, as they bring in sexy thing 30:02.960 --> 30:05.960 comes in. Oh yeah, yeah, just a perfect song for the Scotty character. And he's 30:06.460 --> 30:10.720 dressed insane, by the way. Probably not for the '70s, but for our view when 30:11.220 --> 30:14.659 this movie was made and now. Yeah, the shirt's too small. Like tiniest 30:15.159 --> 30:19.040 tank top. It looks like if you put— try to put your like 9-year-old sister's 30:19.540 --> 30:22.540 like Old Navy clothes on or something like that. It's really funny. I wear a 30:23.040 --> 30:25.599 3XL t-shirt. This would be like me wearing a large. That's about where it would 30:26.099 --> 30:29.060 be. But yeah, he spots— and this was— this was— you mentioned this, I think, 30:29.560 --> 30:32.780 when I was talking about— but we spot, you know, he spots Mark Wahlberg. 30:33.280 --> 30:36.720 So Eddie still at this point and Reed across the pool and they're just sitting 30:37.220 --> 30:40.300 on lounge just chilling. And he does the Schmitz Gay SNL sketch, you know, 30:40.800 --> 30:44.490 drop the eyeglasses You know, the, the, the cinematography even 30:44.990 --> 30:48.470 like vignettes in on to just Eddie, and he is— Scotty 30:48.970 --> 30:52.149 is immediately in love. I would love a cut of all the Schmitz gay stuff 30:52.649 --> 30:55.490 because it's so perfect, like, with Scotty. Yeah. 30:55.990 --> 30:59.370 And, uh, oh yeah. Um, 30:59.870 --> 31:02.770 so Scotty get— he walks right over to Reed and Dirk like he needs to 31:03.270 --> 31:06.790 be— or Reed and Eddie needs to be introduced. And then, um, 31:07.290 --> 31:09.010 and Eddie has to leave because Jack's like, oh, I need you to come. 31:09.510 --> 31:12.980 Yeah, the Colonel. And Eddie at this point is so polite. He's like, 31:13.480 --> 31:16.520 oh, it was really nice to meet you, I'll be right back. Like, it's, 31:17.020 --> 31:20.400 it's such like Andy Samberg's impression of Mark Wahlberg that he used to do on 31:20.900 --> 31:24.120 SNL. How do you— Mom for— Right, yeah. Um, so he goes over 31:24.620 --> 31:27.960 and, uh, and Eddie meets the Colonel, and, uh, and Colonel's like, so, 31:28.460 --> 31:31.660 uh, Jack tells me you got a great big cock, mind if I see it? 31:31.900 --> 31:35.820 And all the different scenes of people first seeing Eddie's 31:36.320 --> 31:39.840 hog is really funny. And again, I would like a montage of that. I would 31:40.340 --> 31:43.480 like a little 10 minutes of just everybody's reaction to it. I love it because 31:43.980 --> 31:46.220 he does that. He said, we're just looking at the Colonel and he's looking down 31:46.720 --> 31:50.540 and he does not move his eyes. And he says, "Thank you, Eddie." Yes. 31:51.040 --> 31:54.220 And then we can tell by the way the shadow on him moves that Eddie 31:54.720 --> 31:56.760 has walked away. "Okay, well, I'll talk to you later." And he walks away and 31:57.260 --> 32:00.420 the Colonel's face does not change. His eyes do not move from where the 32:00.920 --> 32:04.420 cock was. Like, I mean, he is still stunned at what he saw. Everyone is 32:04.920 --> 32:06.220 looking like they're seeing the Blair Witch or something, dude. It's crazy. 32:09.610 --> 32:12.979 Uh, yeah. Um, so he's got his first movie now. Eddie has been cast. 32:13.479 --> 32:15.300 Well, real quick before that, he's in the hot tub with Reed, and Jack joins 32:15.800 --> 32:18.499 him because he wants to pick his name. He's like, because the Colonel says your 32:18.999 --> 32:20.640 name's Eddie, you might want to think about a different name, something makes you happy, 32:21.140 --> 32:23.380 right? Like, you know. And he goes, oh man, like, you know, Jack, I thought 32:23.880 --> 32:26.010 of this name. I'd like a daydream about it, and I saw it in lights, 32:26.060 --> 32:29.120 like blue lights, like purple. And he's like really explaining, and the name was so 32:29.620 --> 32:32.240 great that it like exploded. And so I, I thought, what do you think of 32:32.740 --> 32:35.590 this name? He goes, let me hear it. He goes, dirt Dirk Diggler. And Jack's 32:36.090 --> 32:39.670 like, I love it. And it shows the neon sign up 32:40.170 --> 32:43.730 here and say Dirk Diggler and start pop, pop, pop, pop, pop. Really good. 32:44.230 --> 32:47.910 It's such a funny name. Yeah. So they love it and they're— they've decided like, 32:48.410 --> 32:51.310 okay, you got a name now. Yeah. And, uh, and it's his first, uh, 32:51.810 --> 32:55.250 he's been cast in his first movie. And again, Dirk— we'll just call him 32:55.750 --> 32:59.170 Dirk from here on. Yes. Uh, Dirk, he's in his dressing room and doing his 32:59.670 --> 33:02.770 best and he's really trying to know his lines and everything. And then Scotty comes 33:03.270 --> 33:07.070 to get him Philip Seymour Hoffman. This choice, I— it 33:07.570 --> 33:12.230 blows my mind, but it's so effective in defining this character. 33:12.730 --> 33:15.810 He has a clipboard with the call sheet or whatever and a pen stuck through 33:16.310 --> 33:19.490 the top of the clipboard, but he's like chewing on the pen without removing it 33:19.990 --> 33:24.110 from the clipboard. He's like hugging the clipboard. Yeah, it's so good. These mannerisms 33:24.610 --> 33:27.670 that he has throughout are just like fucking brilliant. 33:28.170 --> 33:32.720 Yeah. And so he's bringing him down and he's just like, talking about, 33:33.220 --> 33:36.700 oh yeah, I like your name. I like, you know, it's really, really into him. 33:36.900 --> 33:40.279 Um, poor Scotty. So he 33:40.779 --> 33:43.440 ends up, you know, getting into the scene, and this is Dirk Diggler's first scene. 33:43.940 --> 33:46.959 We get a few people responding to the name. Yeah, well, Little Bill's like, 33:47.459 --> 33:50.080 who's, who's Dirk Diggler? Yeah, yeah. And Jack's like, oh, that's the new kid, 33:50.580 --> 33:53.700 uh, Eddie. Good name, good name, good name. And then Jack says, okay, Eddie, 33:54.200 --> 33:56.080 we're gonna do this. And then he goes, you know, uh, Jack, could you, 33:56.580 --> 33:58.420 could you just call me Dirk from now on? He goes, yeah. Yes, from now 33:58.920 --> 34:02.299 on. Yep, forevermore. And then we never hear the name Eddie. Never. Though through the 34:02.799 --> 34:05.419 entire rest of the movie, he is Dirk Diggler. Um, but yeah, it's— and so 34:05.919 --> 34:08.920 he and Amber, Julianne Moore's character, are, are doing their first scene, you know, 34:09.420 --> 34:12.840 his first scene, their first together. And, uh, I mean, everybody's just blown 34:13.340 --> 34:16.500 away. And he goes so long that the cameraman runs out of— yeah, the film. 34:17.000 --> 34:18.820 And he has to put on a new, you know, put in a new cartridge 34:19.320 --> 34:22.420 thing, whatever, a new big old thing, and start shooting some more. Um, and then, 34:22.920 --> 34:26.480 uh, Amber basically begs Dirk to come inside her. Yeah. Which I 34:26.980 --> 34:28.939 even was thinking at the time watching, I'm going like, man, that Jack's gonna hate 34:29.439 --> 34:31.380 that. This is a porno. You're supposed to do the money shot. Like, that's the 34:31.880 --> 34:34.840 whole thing, you know? But he does. And so Little Bill and Jack are talking 34:35.340 --> 34:36.980 for a little bit, and Little Bill's like, you know, like, he came inside her. 34:37.480 --> 34:40.579 Like, we could cut to some stock footage. He goes, it'll never match. He'll never 34:41.079 --> 34:43.220 match. Nobody's that big, kind of thing, you know? And to which Dirk looks and 34:43.720 --> 34:46.890 goes, hey, Jack, uh, if, if you need more, I can just go again. 34:48.200 --> 34:51.900 Okay. So casual. The thing about— this is what I love so much is 34:51.980 --> 34:55.250 is Dirk Diggler's mentality is just any, 34:55.750 --> 34:59.009 like, super eager young kid who wants to impress in a new job, dude. 34:59.509 --> 35:03.449 He's Akeem working at McDowell's, like, mopping, you know, with this enthusiastic 35:03.949 --> 35:07.230 look on his face. It's just such, like, a youthful, 35:07.730 --> 35:10.710 like, hey, you know, oh, if there's something I need to do before— I love 35:11.210 --> 35:13.830 it so much. And he says to Amber before, he's like, hey, would it be 35:14.330 --> 35:16.410 okay with you if I, if I tried to make you look sexy? Yeah, 35:16.910 --> 35:20.070 like these things that he says is just— when you think of ejaculation, think of 35:20.570 --> 35:20.920 Dirk. Okay. 35:24.260 --> 35:26.190 We're gonna need another mop. 35:27.909 --> 35:31.310 Oh, just don't try to knock Samuel Jackson over with that thing, Dirk. Um, 35:31.810 --> 35:34.689 okay, so then we get some nice little montages, right? Oh yeah, we get some 35:35.189 --> 35:38.040 shopping, and it's Dirk and it's Reed, and they're going out and they're buying shoes. 35:39.610 --> 35:43.330 Which I've never been a fan of disco, 35:43.830 --> 35:47.390 but this song also has a prominent placement in the Aaron Sorkin series Sports Night, 35:47.890 --> 35:50.670 and I've always loved this song because of a couple of its uses in, 35:50.750 --> 35:52.130 in, uh, popular culture. And this was a great use of it again. Oh yeah, 35:52.630 --> 35:56.210 Boogie Shoes of like, probably if I'm ever asked what my favorite disco song 35:56.710 --> 35:59.510 is, it's Boogie Shoes. It's a fun song. It's a good one. And we get 36:00.010 --> 36:04.190 them, we get them shopping. Yep. And the way he's describing these clothes, 36:04.690 --> 36:08.790 it's just so off the mark and really funny. Him and Reed and Scotty 36:09.290 --> 36:12.540 all good matching shirts. And of course Scotty's like way too small. 36:13.130 --> 36:16.290 Like, Scotty's not that big. I'm sure you can find one that fits. Every time 36:16.790 --> 36:20.030 I'm watching this, I'm like, I would need to stop drinking beer and stop 36:20.070 --> 36:23.270 eating carbs for 6 months to look like Scotty. I would have to lose 80 36:23.770 --> 36:27.910 pounds to look like that. Like, that's the fucking part. Like, That's crazy. 36:28.410 --> 36:30.410 But yeah, so then they kind of— we kind of cut away from the montage 36:30.910 --> 36:33.850 to back to the nightclub, back to Maurice's nightclub, and they're dancing out on the 36:34.350 --> 36:37.450 dance floor doing a bunch of like choreographed stuff. It looks really great. We're like 36:37.950 --> 36:40.430 a high five as part of the dance. I love that stuff. And Reed's there 36:40.930 --> 36:42.630 and dancing, but really it's Roller Girl and Dirk kind of in the middle. 36:43.130 --> 36:45.550 And Dirk's like, you like these shoes? And Roller Girl's like, oh, those are so 36:46.050 --> 36:48.310 nice. And he starts telling all about these different things and he's just making shit 36:48.810 --> 36:51.770 up. Yeah. And my favorite of the lines he says is when she compliments the 36:52.270 --> 36:55.930 shirt, he goes, oh man, this is imported Italian nylon. That is my 36:56.430 --> 37:00.110 absolute favorite one. Oh man. Oh my God. And then, oh, and then Reed and 37:00.610 --> 37:03.890 Buck— Reed's doing the card trick, right? He's doing a card trick for Buck 37:04.390 --> 37:07.280 and he like has his card in Buck's— like, aren't you scared? He goes like, 37:07.430 --> 37:10.310 what, of the evil forces you're using? And he like can barely hear him. 37:10.810 --> 37:13.170 So like, well, no, no, it's just, it's just an illusion. Yeah, I know, 37:13.670 --> 37:17.090 evil forces. Yeah. Oh my 37:17.590 --> 37:20.450 God, I, I like them coming up. And we're getting good reviews, so we're seeing 37:20.950 --> 37:24.890 that they're reading good reviews for these movies, right? Which is really funny in that 37:25.390 --> 37:28.590 context because it could be anything, could be about about your musical or whatever, 37:29.090 --> 37:32.489 but it's about Dirk Diggler's giant cock. So, 37:32.989 --> 37:36.270 uh, we've got Reed now and Dirk who were 37:36.770 --> 37:39.690 in the van. They're riding with Jack somewhere and they're pitching him. 37:40.190 --> 37:42.910 They're going to the— oh, they're going to the video or whatever. That's right. 37:43.410 --> 37:46.230 And they're kind of pitching him this idea. So like, you know, Jack, you always 37:46.730 --> 37:49.290 talk about you want to make a movie that people care about. So we have 37:49.790 --> 37:52.610 this guy, he's kind of like a James Bond character. And yeah, I don't like 37:53.110 --> 37:56.565 the way John Holmes, you know, his character is disrespectful to women and all which 37:56.597 --> 37:59.983 is really funny when it shows the actual movies. But, um, 38:00.288 --> 38:03.963 but he comes up with this new character called Brock Landers. This is the name 38:04.011 --> 38:08.183 of the character, and, uh, Jack is really into that. And Reed 38:08.683 --> 38:12.966 is the sidekick, Chest Rockwell. Brock Landers and Chest Rockwell, good stuff. 38:13.929 --> 38:17.475 Um, legitimately hilarious. Uh, the, 38:17.796 --> 38:21.230 the intro that they show, like the actual intro for 38:21.730 --> 38:25.260 the fake Brock Landers. Yeah. Is really fucking fun. I love the 38:25.760 --> 38:29.660 Cap Gun sounds from the guns. His haircut is ridiculous. 38:30.160 --> 38:32.850 Like, that you have every— all action has to take place on a roof, 38:32.880 --> 38:36.130 right? Like, it's just incredible. Yeah, it's good stuff. 38:36.260 --> 38:39.100 Um, so yeah, so we get some— this is kind of part of the, 38:39.320 --> 38:42.480 the greater, like, success montage. And now Dirk has his new house and 38:42.980 --> 38:46.720 he's gonna show everyone around. Yep. Um, he— one of the highlights is 38:47.220 --> 38:50.900 that on— he has these curtains with DD on them. Yeah. And, 38:51.400 --> 38:54.170 uh, and he's like, yeah, I put my initials on here One day I was 38:54.670 --> 38:58.330 just thinking about my name and it came to me. It's so bad. 38:58.549 --> 39:01.570 He's walking Amber through the house, giving her a tour, and they get— he gets 39:02.070 --> 39:04.369 to the bedroom and he calls it my dojo. Yes. And it's all like got 39:04.869 --> 39:08.860 Asian art all over everything. Oh, it's really good. It's really good. And then the, 39:09.029 --> 39:13.230 the crown jewel of his collection is that he's got a— 39:13.730 --> 39:17.110 this orange Corvette. Competition Orange. Gorgeous. Beautiful. It's like a Stingray. 39:17.610 --> 39:20.770 It's beautiful. Yeah, really nice. Yeah. So that's kind of like where we're at. 39:21.270 --> 39:22.940 So we're still kind of at the end of 1977-ish. 39:25.060 --> 39:28.709 78, when there was at the beginning, there was the awards 39:29.209 --> 39:33.070 that they go to, uh, when they talk to Jack about the Brock, you know, 39:33.570 --> 39:36.199 Landers thing. That was like the '78 awards. He said it was early '78. 39:36.630 --> 39:40.050 And then, um, that was the second annual. And then later in that— oh, 39:40.550 --> 39:42.350 it goes to the fourth, the fourth. So it's been a few years. And one 39:42.850 --> 39:45.570 of the interesting things, right, is when he first wins like best male performer or 39:46.070 --> 39:48.680 whatever, he's got this whole speech about like, we're gonna keep making better movies. 39:48.750 --> 39:50.910 I think we can, you know, If you guys keep trying, I'm going to keep 39:51.410 --> 39:53.090 trying. Let's keep rocking and rolling. Like he does the whole thing. He does the 39:53.590 --> 39:56.769 famous, like, you know, karate kick with the spotlight at him. It's a great visual. 39:57.189 --> 40:00.450 Might be the COVID art for the episode because 40:00.950 --> 40:04.220 there's a whole lot in this movie I can't use. But then by the end, 40:04.230 --> 40:06.890 by the fourth one or whatever, he gets the award. He goes, thank you, 40:07.390 --> 40:10.450 and walks off. And it's, you know, we're starting to see what success is doing 40:10.950 --> 40:13.590 to Dirk Diggler and changing him a bit. And so now we cut to, 40:13.990 --> 40:17.230 you know, December 31st, 1979. This is the end of the '70s, beginning of the 40:17.730 --> 40:21.120 '80s, New Year's Eve. 1980. Um, and Buck now 40:21.620 --> 40:24.429 kind of looks like Rick James. Is that what he's going for? I'm not sure, 40:24.439 --> 40:27.580 but it is one of those, uh, one of those outfits for sure. He's got 40:28.080 --> 40:31.340 like kind of the long braids. Yes. And everything. Yeah, it's, 40:31.840 --> 40:35.400 it's a crazy look though. Very bright, very out of place with everybody else. 40:35.900 --> 40:39.180 Yeah. Um, and this is the 1980, or it's about to be 1980 New 40:39.680 --> 40:43.380 Year's party at Jack's house, right? Exactly. Um, the first kind 40:43.880 --> 40:46.140 of crew that we have, so we've got a couple crews that are getting together 40:46.640 --> 40:50.300 here. We've got the Colonel who's coming there with his friend Floyd Gondoli. 40:50.800 --> 40:54.019 That's right. I think what Floyd Gondoli is, maybe like a competitor or somebody who 40:54.519 --> 40:56.840 does the same thing as them but maybe at a different level, because what he's 40:57.340 --> 41:00.820 talking about is like, you know, make them cheap, more amateur home 41:01.320 --> 41:03.840 videos, like the new way to go. Amateurs, that's the way to do it. 41:04.340 --> 41:07.220 Philip Baker Hall, great actor. Yes, really good. Fantastic. Yeah, 41:07.720 --> 41:11.040 he's— we've seen him, we've seen him a lot. Um, 41:11.540 --> 41:15.630 and Jack is just like like, no, like, I'm a filmmaker. I love Jack's 41:16.130 --> 41:19.630 delusion. Like, he's been able to create this bubble around himself. Yep. That he 41:20.130 --> 41:23.070 is— he's a good person and he's a father to these people and he's a 41:23.570 --> 41:26.330 filmmaker. And like, nothing— you know how we were talking about they don't mention the 41:26.830 --> 41:30.490 ages or any of that? That hasn't occurred to Jack because he is in this 41:30.990 --> 41:33.770 world that he's created for himself where he's the good guy, right? Yeah, yeah. 41:34.270 --> 41:37.090 Um, so that ends with him being like, you know, fuck you guys, I'm not 41:37.590 --> 41:40.730 switching to home video. I'd rather go spend New Year's with my friends. Yeah, 41:41.230 --> 41:44.450 he leaves. Yeah. And, uh, there's one point in here Dirk is with Amber in 41:44.950 --> 41:47.710 her room and she asked him to do coke. Apparently he's never done coke before, 41:48.210 --> 41:51.050 which I find a little hard to believe that 3 years in the adult porno 41:51.550 --> 41:55.150 industry he never once did cocaine. Yeah, a little surprising. But he does it, 41:55.650 --> 41:57.970 he enjoys it. They— do they fuck or do they just— I can't— I think 41:58.470 --> 42:01.510 they just hang out. Yeah. And she kisses him or something, but like they don't— 42:02.010 --> 42:04.870 I don't think— I don't know. And she wants to like be his mom. 42:05.370 --> 42:07.590 It's a little weird, you know, it's a little strange. It's very odd, you know, 42:08.090 --> 42:11.530 but it's like, it's a crazy coke conversation, right? Yeah. 42:12.030 --> 42:14.069 And, um, so when— although I just noticed a note I got here— so when 42:14.569 --> 42:17.190 they're talking to, uh, what's Phil Baker Hall's character? 42:17.690 --> 42:21.650 Floyd Gondoli. Floyd. When they're talking, 42:21.830 --> 42:24.370 uh, he's talking to Jack and he says something about like, I'm a simple man 42:24.870 --> 42:27.890 who I have simple pleasures, I like butter in my ass and lollipops in my 42:28.390 --> 42:30.040 mouth. Yeah. The Colonel, I don't know if he— I don't know if the character's 42:30.250 --> 42:32.890 supposed to be laughing or if the actor was just breaking because he is laughing 42:33.390 --> 42:36.710 his ass off, you know, out of focus behind him. He is busting 42:37.210 --> 42:40.420 up at that line. I like butter in my ass, lollipops in my mouth. 42:40.920 --> 42:44.940 I like simple things. I know, that line is so funny. It's almost 42:45.440 --> 42:48.580 like one of those Tim Robinson lines where it's intentionally off-putting just 42:49.080 --> 42:52.420 so that you don't stop thinking about it. So, 42:52.699 --> 42:55.820 so Dirk has just left from doing coke for 42:56.320 --> 42:59.520 the first time, right? And he walks out. So one character who's just walked into 43:00.020 --> 43:03.640 the party I love so much is Thomas Jane's character 43:04.140 --> 43:07.520 Todd Parker. And he busts in through the gate, one of the most most like 43:08.020 --> 43:10.859 emphatic entrances, you know. And he just like, 43:10.960 --> 43:14.760 now the party's here, kind of look, you know. And he has the perfect shithead 43:15.260 --> 43:19.080 like mustache, leather jacket kind of look. And he and Reed are talking about— 43:19.580 --> 43:22.160 he's like, oh, you see that orange Corvette out in the front? The look on 43:22.660 --> 43:26.080 his face as he's talking about Dirk's Corvette, and, you know, 43:26.580 --> 43:29.660 probably a lot of made-up stuff that he's saying about it, you know. He's like, 43:30.160 --> 43:33.960 overhead cam, yeah, this and that. But he last says, uh, 10 boats, a competition, 43:34.460 --> 43:37.820 or full fucking race cams. So, so Reed 43:38.320 --> 43:40.919 and Todd Parker are hanging out, and Reed really wants to introduce Todd to Dirk. 43:41.419 --> 43:45.239 Yeah. So Dirk comes out from doing coke, and, uh, and Scotty's 43:45.739 --> 43:49.360 there, right? Scotty is like lurking outside the door. He's been posted 43:49.860 --> 43:52.680 up since Dirk went in there, and he's like, oh, Dirk, Dirk, I gotta show 43:53.180 --> 43:55.180 you something, I gotta show you something. And of course he gets pulled away for 43:55.680 --> 43:58.380 a minute to meet Todd. Scotty finally takes him out. He's like, okay, I gotta 43:58.880 --> 44:01.320 show you this thing, you know. He's making Dirk like, close up. Yeah, yeah. 44:01.410 --> 44:04.410 And again, great Philip Seymour Hoffman being like, here, here, 44:04.910 --> 44:07.850 here, here, here, here, here, follow my voice. You're one foot— I can hear your 44:08.350 --> 44:11.710 footsteps, you know. So, um, but he shows him his car, which is this really 44:12.210 --> 44:16.140 sick Datsun 280Z, and he's so proud of it. And he has like a jacket, 44:16.350 --> 44:19.750 you know, cool guy jacket. He's like leaning up against it and everything. 44:19.870 --> 44:23.570 Uh, so it seems cool, but then, you know, Scotty, who's clearly in 44:24.070 --> 44:27.890 love with Dirk, tries to kiss him. Dirk is very cool. 44:28.390 --> 44:31.970 The way he deals with it is incredibly gentle. Well, he's shocked. Like, 44:32.470 --> 44:34.690 it's clear he has had no idea Scotty was in. Sure. I mean, it just 44:35.190 --> 44:38.669 didn't cross his mind. He was completely shocked. But his response is not, fuck you. 44:39.169 --> 44:41.350 It's just, Scotty, what are you doing? Yeah. Like, Scotty, we're friends. Like, what are 44:41.850 --> 44:43.910 you doing? This is not, you know, no, no, no, no, no, come on. 44:44.410 --> 44:47.010 And, and Scotty, you know, is just like kind of trying to apologize, trying to 44:47.510 --> 44:48.950 say this, that, whatever. And he's, you know, I feel bad for the guy. 44:49.450 --> 44:53.050 Like, obviously he's in love. You know, it's unrequited because, you know, 44:53.550 --> 44:54.990 Dirk's not gay, so he doesn't— he's not going to be with Scotty. Like, 44:55.490 --> 44:58.810 whatever. But, you know, I just feel terrible for Scotty. But, you know, he basically 44:59.310 --> 45:00.930 had asked Dirk, like, you want to go for a ride in the car? 45:01.430 --> 45:03.480 And he's like, well, no, We got the party here, man. Let's go back inside. 45:03.880 --> 45:06.299 And this— now Dirk has to like walk away, and Scotty basically gets into the 45:06.799 --> 45:10.279 car and calls himself an idiot over and over again. Amazing meltdown. 45:10.779 --> 45:14.420 I mean, so powerful. He's just a fucking idiot. And they, and they let 45:14.920 --> 45:18.040 it hang on screen for just long enough that you have to be uncomfortable from 45:18.540 --> 45:21.020 it. Yes, agreed. Yeah, another great choice by Anderson. 45:21.360 --> 45:24.900 Yeah. So, uh, and so then the last kind of one of the characters 45:25.400 --> 45:28.020 that we, we have an adventure with this night is we've got Little Bill, 45:28.520 --> 45:31.620 and he's walking around He's got his champagne and he's looking for his wife because 45:32.120 --> 45:34.159 it's about to be New Year for a new decade. You're going to— you're going 45:34.659 --> 45:36.900 to kiss your wife at New Year's. It's totally normal. And he's kind of walking 45:37.400 --> 45:39.599 around the house and different people are like, hey, Bill, you know, we're doing the 45:40.099 --> 45:43.340 countdown. And he walks into the bedroom door and clearly she's in there 45:43.840 --> 45:46.640 fucking a guy like she always is. And he just kind of gets this like 45:47.140 --> 45:50.640 blank look on his face, very matter-of-factly walks out 45:51.140 --> 45:55.120 to his car, opens it, takes a gun out there, locks his car up 45:55.620 --> 45:59.420 again, which I like. Um, and he walks in there, and as he's walking in 45:59.920 --> 46:03.199 there, someone's like, hey, we're gonna do the countdown, come on. And he pushes by, 46:03.350 --> 46:06.440 puts a bullet in his wife, kills his wife, kills the guy, and then walks 46:06.940 --> 46:10.750 out of the party and shoots himself in the mouth, splattering one of Jack's paintings, 46:10.780 --> 46:14.140 unfortunately. But yeah, really gross, uh, really brutal 46:14.640 --> 46:18.280 end for Little Bill. Yep. So yeah, that's like the end of the party, 46:18.780 --> 46:22.700 and then it just cuts black screen, very small font, just says '80.' Yep, 46:23.200 --> 46:25.460 exactly. So now we are into the '80s. I think we start off with Amber 46:25.960 --> 46:29.180 interviewing Dirk and interviewing Reed and kind of interviewing Jack. And there's 46:29.680 --> 46:32.880 like, she's basically making a documentary about the work they all do kind of thing. 46:33.380 --> 46:36.380 And it's pretty cool. But when Dirk and Jack are sitting there talking together, 46:36.880 --> 46:39.320 Dirk starts making comments about like, "Oh, Jack, you know, he really trusts his actors. 46:39.820 --> 46:42.140 He lets me block my own sex scenes and all this stuff." Yes. You know, 46:42.640 --> 46:45.380 whatever. And Jack's like, "Uh, no, I don't." Like, 46:45.880 --> 46:48.400 it's clear. So like, one of the things we talk about here is the character 46:48.900 --> 46:52.040 arc, right? Of where Eddie Adams was is to where Dirk Diggler is now. 46:52.230 --> 46:55.729 Yeah. He's gone through this cycle of like completely novice to, 46:56.229 --> 46:59.830 you know, a very innocent, very well-meaning amateur, you know, kind of low-level professional, 47:00.330 --> 47:03.289 to where now he believes that he is God's gift to this industry and that 47:03.789 --> 47:07.130 he is untouchable. You know, he's gotten all those things that superstars, 47:07.250 --> 47:10.490 when they're not careful at least, you know, fall into as far as traps go. 47:10.990 --> 47:14.390 And he is full into it. Um, he makes a comment about, you know, 47:14.890 --> 47:17.490 when you're on top like Napoleon, everybody tries to get you even when you're trying 47:17.990 --> 47:19.910 to fight the Roman Empire. So it's just like very weirdly historically off. Clearly a 47:21.830 --> 47:25.350 high school dropout. Yeah, it is so coke-coded. 47:25.850 --> 47:29.690 And like, the way that his acting of like being coked up is really funny, 47:30.190 --> 47:33.380 like really well done in the interview parts of that fake documentary. 47:34.250 --> 47:36.949 Yeah. Um, yeah, so we've got that. And now we've got, 47:37.449 --> 47:40.470 uh, Jack showing up to— he gets a phone 47:40.970 --> 47:44.030 call. That's right, he gets a phone call and he's like, hey, slow down, 47:44.530 --> 47:47.590 slow down, Colonel, what's going on? You know? And he goes to the jail and 47:48.090 --> 47:51.650 he's talking to the Colonel through the ass. And the colonel tells this horrible story. 47:51.730 --> 47:55.450 Yeah, you know, somebody OD'd, whatever. 47:55.950 --> 47:58.950 This girl was 15 going on whatever, but I didn't touch her. 47:59.149 --> 48:02.809 But yeah, they found some other stuff, and they don't say exactly what it is, 48:03.309 --> 48:06.970 but this guy is just like world-class, some of the biggest like scum piece of 48:07.470 --> 48:10.660 shit ever, right? It sounds like at a minimum he was photographing underage— yeah, 48:11.010 --> 48:13.670 kids kind of stuff in the nude, you know. He claims he never touched them, 48:14.170 --> 48:16.090 but like, give me a fucking break at that point, right? Totally. And again, 48:16.590 --> 48:19.870 the girl we saw him show up with at Jack's party originally. Oded, maybe she 48:20.370 --> 48:23.469 was just very skinny, but she looked like she was very young, you know. 48:23.969 --> 48:26.689 So, and so clearly that's who the Colonel is. And he keeps asking Jack like, 48:27.189 --> 48:29.090 are you still my friend? Yeah, he's my friend. Jack, tell me you're my friend. 48:29.590 --> 48:31.609 And Jack's not saying anything. And then it's like the, uh, I think even before 48:32.109 --> 48:33.610 Jack hangs up, it's like there's a certain amount of time they have and the 48:34.110 --> 48:35.990 time runs out. And Jack is just like, he leaves him. He's like, no, 48:36.490 --> 48:39.690 fuck this. Like, yeah. And it's crazy with the Colonel like just 48:40.190 --> 48:43.590 soundlessly mouthing like, you're my friend, you're my friend. And he's like trying to hit 48:44.090 --> 48:48.080 the glass and everything. Yeah. Um, but yeah, Jack is just fully done Disgusted 48:48.580 --> 48:51.040 there. And it's good to see that Jack has at least some scruples. So there's 48:51.540 --> 48:54.220 some lines about it. Yeah, there's a line to be not crossed. There's someone that 48:54.720 --> 48:58.080 Jack thinks he is not. Yeah, he's like, I'm not that fucking— exactly, you know, 48:58.580 --> 49:01.410 which is at least nice to see, I guess. Um, I mean, it's a little, 49:01.440 --> 49:04.340 you know, when you look back at how early he started working with Roller Girl 49:04.840 --> 49:08.000 and Eddie slash Jerk, it's a little kind of— but we also get the 49:08.500 --> 49:11.740 sense what the Colonel's been doing are much younger kids than like almost 49:12.240 --> 49:15.250 18. Yeah, you know, so So, um, not that I'm excusing that. No, no, 49:15.750 --> 49:18.930 but I mean, but at least in Jack's head there's a separation, even if he's 49:19.430 --> 49:22.760 doing the exact same shit, right? Uh, so now we're at Becky's wedding, 49:22.890 --> 49:25.590 and I think Becky and Jerome— so Becky is one of the other actresses, 49:26.170 --> 49:29.670 um, beautiful Black woman, and she's married to Jerome, 49:30.170 --> 49:32.810 who it showed her meeting at one of the parties, I think, and they were 49:33.310 --> 49:37.090 talking about like astrological signs. Yeah, yeah, yeah. And he's not in the porn world. 49:37.590 --> 49:41.290 Yeah, he says he's a manager at Pep Boys. He's like auto parts store management 49:41.790 --> 49:44.649 and stuff. So they kind of have a different life. And at this wedding, 49:45.170 --> 49:48.650 Jack introduces Dirk to like one 49:49.150 --> 49:52.570 of the new guys that he has working with him, Johnny Doe. Johnny Doe, 49:53.070 --> 49:56.750 who is such a hilariously bad actor, I think on purpose. But every— he's 49:57.250 --> 50:00.430 like, you're Dirk Diggler. It's like, man, 50:00.930 --> 50:04.110 I'm so, so starstruck. Yeah, it's really funny. I did love— there's a little thing 50:04.610 --> 50:07.110 that I noticed with this where it felt very much like in Goodfellas when we're 50:07.610 --> 50:11.020 getting the voiceover from Karen at their wedding. Wedding about how like the social circle 50:11.520 --> 50:14.740 was just the mob people. It's the same thing. This social circle is just these 50:15.240 --> 50:18.240 people work in porn industry. Totally. Basically, I'm sure Jerome had his family and friends 50:18.740 --> 50:21.399 there too, but what we basically see are all the cast and crew of all 50:21.899 --> 50:24.460 of Jack's movies are the people at this wedding. Yeah. And I think it's even 50:24.960 --> 50:27.780 the reception's like at Moe's nightclub, isn't it? Isn't that where it is? It looks 50:28.280 --> 50:31.900 like Maurice's nightclub. So yeah, but it's, it was an interesting thing I noticed about— 50:32.400 --> 50:36.380 it felt like Goodfellas in that way. Another quick prop to Philip Seymour because I'm 50:36.880 --> 50:40.300 sure that this was, you know, him on purpose, or P.T. Anderson. At one point 50:40.800 --> 50:43.260 he's at the wedding and he cuts himself off a piece of the wedding cake, 50:43.760 --> 50:47.080 but he cuts like the thinnest, widest piece of cake and 50:47.580 --> 50:50.920 then flops it onto a plate that it doesn't contain. And he's kind of like 50:51.420 --> 50:54.780 eating it off the side of the plate, and it's just like, dude, if you 50:55.280 --> 50:58.060 take the biggest genius in the world and say like, what could you make this 50:58.560 --> 51:02.200 guy do that hammers home the type of character Scotty is? It was so 51:02.700 --> 51:05.160 like so good, pathetic and disgusting and sad and everything all at once. I really 51:05.660 --> 51:09.240 love that choice. Yeah. So Dirk takes off 51:09.740 --> 51:12.940 from this wedding. He's pissed about meeting Johnny Doe, and Todd is there at the 51:13.440 --> 51:16.500 door like, hey, come on, let's get out of here. Yeah, so Tom Jane is— 51:17.000 --> 51:20.880 yeah, and I want to say that the entrance of Todd initially was almost 51:21.380 --> 51:24.960 as memorable as Thomas Jane's exit from the movie The Mist, but we 51:25.460 --> 51:26.730 won't get to that one because I don't know if you've seen The Mist. 51:26.840 --> 51:29.600 Oh dude, well, unfortunately it's like 2007 or whatever, but he has to kill his 51:30.100 --> 51:33.520 own kid and then finds out he didn't have to. It's a lot of fun, 51:33.580 --> 51:37.050 really upper, upper, upper ending to that movie. But anyway, Anyway, no, love Thomas Jane. 51:37.550 --> 51:41.329 And yeah, so now he is introducing, they're back at Jack's, and apparently 51:41.829 --> 51:45.149 Todd is introducing Dirk to crystal meth now. So now they're snorting 51:45.649 --> 51:48.649 meth, and obviously that's a different high, and it's like doing something, and they're really 51:49.149 --> 51:52.950 into it. And Dirk, you know, has been pissed about the whole Johnny Doe stuff 51:53.450 --> 51:55.930 and like being replaced, whatever. He saw like Amber talking to the girl, whatever. 51:55.950 --> 51:59.360 He goes into the bathroom to basically work himself hard, and he's struggling, 51:59.570 --> 52:02.370 right? He can't get hard. I've never done crystal meth, but I have heard that 52:02.870 --> 52:06.200 that is a side effect of using it. And so, you know, he can't get 52:06.700 --> 52:08.979 her, but then he finally goes out to the— to the back, out to the 52:09.479 --> 52:12.319 pool, and tells Jack, I'm ready to go. Yeah, we got to shoot now. 52:12.819 --> 52:15.560 I'm hard. Let's shoot. And Jack's like, yeah, 20 minutes. Like, I'm not ready. 52:16.060 --> 52:18.100 He's like, no, no, no, we're shooting now. And like, it's a huge fight. 52:18.520 --> 52:21.800 Dirk basically pisses off everybody there, everybody who's a friend of his except for like 52:22.300 --> 52:25.940 Reed. And Todd, you know, isn't kind of— he's on Dirk's side. But basically, 52:26.440 --> 52:29.880 like, Jack almost fights Dirk. Oh yeah. And then fires him. Yeah, 52:30.380 --> 52:32.069 it's like, you're fired. Get the fuck out of here. Like, you're gone. On. 52:32.569 --> 52:35.730 Um, and that— and then Reed is kind of like, hey man, I'll work it 52:36.230 --> 52:37.690 out, Jack, don't worry, I'll get him back, it'll be fine, you know, kind of 52:38.190 --> 52:40.630 thing. But Dirk leaves, he's like, fuck it, I'm out of here. No, and this 52:41.130 --> 52:44.369 part of the Burt Reynolds moments in the movie, this is one of his best. 52:44.490 --> 52:47.710 Yeah, like him just getting furious and flipping, really had the energy 52:48.210 --> 52:51.210 of like a parent who's been betrayed by his kid and is just fucking fed 52:51.710 --> 52:54.930 up with him. Um, yeah, so they're out of there, and now we've 52:55.430 --> 52:59.340 got another, uh, indication of the date where March 1983, 52:59.840 --> 53:02.989 right? And every time, right, it gets real dark, we've got a little levity, 53:03.340 --> 53:06.100 you know? So we got real dark with that fight, that was very disturbing. 53:06.339 --> 53:09.520 And now we've got Dirk Diggler laying down some vocals for his 53:10.020 --> 53:13.079 music demo, which— why is he doing The Touch by Stan Bush? 53:13.579 --> 53:16.620 Like, it's not like an original song, it's a cover of a song from the 53:17.120 --> 53:21.590 Transformers movie. Like, I don't know, it fits very perfectly, 53:21.840 --> 53:24.980 right? Um, he's so— he is just awful. 53:25.480 --> 53:27.980 And to the point that he's— he has to try to sing as bad as 53:28.480 --> 53:31.999 he's singing. He's straining. So, you got the touch. He's speak 53:32.499 --> 53:36.110 singing, kind of like he isn't even really singing. I guess it's really bad. 53:36.880 --> 53:40.000 Um, um, so, you know, we've got him doing his mu— his music demo, 53:40.500 --> 53:44.080 uh, and there's just Reed watching from the sound 53:44.580 --> 53:48.740 booth. So this song is happening, we're just seeing Dirk Diggler, and it's dog shit. 53:49.240 --> 53:52.020 And then it goes back to the sound booth, and the sound booth operator is, 53:52.520 --> 53:55.920 uh, one of the Penns, not Michael Penn I think it's Michael Penn 53:56.420 --> 53:58.180 or Chris Penn, one of those. No, it's not Chris, it might be Michael. 53:58.219 --> 54:01.450 It's not Chris. Uh, so anyway, he's just like, oh my God, 54:01.819 --> 54:04.780 fucking kill me, I can't believe this is my job. And then, 54:05.280 --> 54:09.200 uh, Reed is standing behind him dancing like Jason Sudeikis on What Up With That 54:09.700 --> 54:13.340 on SNL, like doing his— like, that's really good, man. 54:13.870 --> 54:17.000 Um, yeah, so that, that's going on. And of course, like, 54:17.500 --> 54:20.660 we're doing a ton of coke and we keep going back to the conversation as 54:21.160 --> 54:23.200 well, I think. Yeah, yeah, so we're getting into all drugs, but we're cutting to 54:23.700 --> 54:25.380 some of the other characters as well. We see Roller Girl taking her has to 54:25.880 --> 54:28.980 take her GED. Yep. Um, we see Johnny as the new star every once 54:29.480 --> 54:32.790 in a while. And now we're noticing too that, uh, Jack is shooting on video. 54:32.839 --> 54:35.880 Yes. So the quality is reduced. I think this is at some point in this 54:36.380 --> 54:39.660 sequence. I think he walks through like the warehouse where the videotapes and stuff. 54:40.160 --> 54:43.220 So it's like, you know, he's— he basically accepted Floyd's thing, especially after the Colonel 54:43.720 --> 54:46.060 was gone. He needs a new finance guy, or he needs to make it for 54:46.560 --> 54:49.020 a lot cheaper, you know, the whole deal. So, you know, that's the situation he's 54:49.520 --> 54:52.490 in. He's now doing video, which he said he would never do. We see Buck 54:52.990 --> 54:56.289 and Jesse, who— Dirk was kind of dated for a little bit. I think she 54:56.789 --> 54:59.510 was an actress, a porn actress as well. Yes. And she like painted some pictures 55:00.010 --> 55:02.790 of a few of the artists. So some of the paintings show up. Yep. 55:03.290 --> 55:04.990 But she and Buck are together, have been, it looks like, for a couple of 55:05.490 --> 55:07.030 years. And Buck is trying to get a loan because he wants to open his 55:07.530 --> 55:10.590 own stereo store. You know, he knows enough about the stuff. He worked at somebody 55:11.090 --> 55:13.050 else's for long enough. He wants to do his own. So we see him going 55:13.550 --> 55:17.270 in to do that. And it's just— oh, and then I love too. To show 55:17.770 --> 55:20.970 us the changing of the times, we see Jack and his camera guy shooting a 55:21.470 --> 55:24.309 new scene with these two women we're not familiar with in the movie, but they're 55:24.809 --> 55:28.009 in like a hot tub and they have just the most cartoonishly enormous fake breasts. 55:28.509 --> 55:31.450 Crazy. And it's like, oh, it's the '80s, isn't it? You know, like, for sure. 55:32.730 --> 55:36.630 Um, yeah, so now Jack's— everything Jack has done 55:37.130 --> 55:40.130 is like, yeah, bad quality, you know, everything he was fighting against. 55:40.230 --> 55:42.990 But we have all the characters kind of trying to do what they think they 55:43.490 --> 55:47.530 need to do to turn their life around or survive here. Yeah. We get 55:48.030 --> 55:51.770 a cut now to September 1983, and we have 55:52.270 --> 55:56.290 Amber, we got Julianne Moore, and she's in the courtroom, or, you know, 55:56.790 --> 55:59.910 in it, like a whatever conference room with the judge and her ex and the 56:00.410 --> 56:03.950 lawyer and stuff. And they're talking about custody of her son. Very upsetting scene, 56:04.450 --> 56:07.650 but clearly she's learned no lessons. She's lying. She's not, not fit to 56:08.150 --> 56:10.890 have the kid around, right? There's a scene earlier we didn't mention, but there was 56:11.390 --> 56:14.590 a party at Jack's house. The phone rang. Them. And Maurice picked 56:15.090 --> 56:17.230 it up, and it was a kid looking for their mom. They couldn't find who 56:17.730 --> 56:20.009 it was because they're all using fake names, right? Because they don't know anyone's real 56:20.509 --> 56:24.250 name. Ask for Maggie. Yeah, Maggie is right. Um, yeah, 56:24.750 --> 56:27.050 so then it kind of— at the end of that, after he said, no, 56:27.550 --> 56:29.670 sorry, she's not here, hangs up the phone, and it cuts to her looking up 56:30.170 --> 56:33.710 from a coke, uh, table. Exactly. So, you know, she's clearly fucked all this out, 56:34.210 --> 56:37.890 but it's a really, really powerful scene. Her husband's pissed at her, and it's 56:38.390 --> 56:40.750 not gonna go her way. And then it just cuts to her just just like 56:41.250 --> 56:45.169 deeply sobbing outside the building. The cut's fantastic because the cut comes from— 56:45.669 --> 56:48.710 so the ex-husband says, you know, she's been arrested, uh, or she gets arrested all 56:49.210 --> 56:51.309 the time, something like that. And she goes, well, no, no, not anymore, like whatever, 56:51.809 --> 56:54.370 like that's in my past. And so the judge says, well, you know, when was 56:54.870 --> 56:57.410 the last time you were arrested? And she— I think she says like, you know, 56:57.910 --> 57:02.070 well, you know, like— or she's— no, the judge asks, what were you arrested 57:02.570 --> 57:05.350 for? The last time you were arrested? And she doesn't respond right away. We get 57:05.850 --> 57:08.950 a brief hold on her for a second or two, and then it cuts. 57:09.450 --> 57:10.510 Yeah, her just absolutely bawling outside on the street, um, which clearly it didn't go 57:12.430 --> 57:15.790 way, which, you know, look, we like Amber. She's a character we're rooting for in 57:16.290 --> 57:18.910 this movie, but she should in no way be— have the, you know, custody of 57:19.410 --> 57:21.990 her child if she's doing this number amount of drugs and she is living in 57:22.490 --> 57:25.370 that environment. Like, she can claim all she wants that Jack's house is not what 57:25.870 --> 57:29.730 her ex-husband says it is, but it pretty much is. So yeah, and she's not 57:30.230 --> 57:33.480 in the condition to like watch over a kid the whole time anyway. 57:33.890 --> 57:37.190 Yeah, yeah. Um, so, so that's her kind of evolution 57:37.690 --> 57:41.940 now. Um, so Jack in in the progression of his product becoming 57:42.270 --> 57:45.919 cheaper and more gimmicky and more exploitative, is now driving around in 57:46.419 --> 57:49.920 a limo with Roller Girl, right? So there's two things happening at the same time. 57:50.420 --> 57:52.860 Maybe we'll just separate the two things instead of bouncing back and forth like that. 57:53.360 --> 57:55.590 That's a good idea. Yeah, yeah, yeah. Um, but we should, but we should mention, 57:55.720 --> 57:58.240 over these two sequences, the same score is playing. And you were talking about the 57:58.740 --> 58:03.100 score earlier, and the music here is perfection. It's absolutely 58:03.600 --> 58:06.140 the tension building of it. It's just, it's incredible. Amazing. 58:06.610 --> 58:09.550 Amazing. But yeah, but let's start with the Jack and Roller Girl sort of sequence, 58:09.560 --> 58:12.160 right? Even though it does cut back and forth. So they're in a limo and 58:12.660 --> 58:14.640 they've got the camera in there and he's got like a microphone, like he's hosting 58:15.140 --> 58:17.600 a show, you know? And he's like, "We're gonna pick somebody up off the street 58:18.100 --> 58:20.180 and see if they wanna fuck Roller Girl," that kind of thing. And Roller Girl's 58:20.680 --> 58:23.300 like, "Yeah, I'm into it," kind of thing. And so they're talking to somebody and 58:23.800 --> 58:25.700 at first they're like, you know, "You go to school?" He's like, "Yeah." He's like, 58:26.200 --> 58:27.540 "Where?" He's like, "Is it okay if I don't tell you where I go?" But 58:28.040 --> 58:30.320 he later, like a minute later drops that he goes to CSUN, to Cal State 58:30.820 --> 58:33.800 Northridge. But, you know, he basically looks at her at one point and goes, 58:33.820 --> 58:36.900 was like, yeah, we went to school together. Isn't your name Brandy? Like, huh, 58:37.400 --> 58:40.060 that's interesting, or whatever. And she's kind of like, oh no, not me. But like, 58:40.560 --> 58:43.880 this is— I think this is the guy from Second Motion. Exactly. So from here, 58:44.380 --> 58:46.920 Jack should have hired on the spot if he knew about that. But yeah, 58:47.420 --> 58:50.080 so, so they start fucking and they're filming it, and Jack's trying to direct the 58:50.580 --> 58:52.400 guys like, hey, you're covering her up, you know, you can't— you'll make it look 58:52.900 --> 58:54.640 sexy. You can't just go in like that. Make it look sexy. And she is 58:55.140 --> 58:58.540 not fucking enjoying it at all. No. And, and finally it's like, okay, fucking stop 58:59.040 --> 59:02.520 this. This isn't— we're not getting anything we can use, which is I don't know 59:03.020 --> 59:05.339 how the porno industry, I've never been in the porno industry, obviously. I don't know 59:05.839 --> 59:07.680 how it worked in the '70s and '80s, but I've heard things about how often 59:08.180 --> 59:10.019 they get tested for stuff. And I mean, you know, this was still kind of 59:10.519 --> 59:14.019 pre the AIDS crisis really being understood to reach heterosexual sex the 59:14.519 --> 59:18.040 way that we know we now understand it does. But it seems like you wouldn't 59:18.540 --> 59:20.920 want to just pick somebody up off the street and not like have them tested 59:21.420 --> 59:23.840 and have them work with your performers. It's terrible. It doesn't make any sense from 59:24.340 --> 59:27.180 like a, from the business of that business, you know, kind of thing. But they 59:27.680 --> 59:31.460 try and it doesn't fucking work. Work. Um, and finally they're just like, 59:31.960 --> 59:34.000 no, fuck it. And he's just like, oh, you know, you should have jerked me 59:34.500 --> 59:37.419 off at least. You got me hard. You know, I gotta, I gotta say something 59:37.919 --> 59:41.560 about that mentality because, um, I don't 59:42.060 --> 59:45.760 understand a guy feeling so put off by like, oh, you gave me a boner 59:46.260 --> 59:48.980 and now, now what do I have to do? My favorite thing in the world 59:49.480 --> 59:53.100 to take care of it? The thing I've done on at least a multi-weekly basis 59:53.600 --> 59:56.640 since I was 14. Like, what the fuck are you complaining about, dude? 59:57.530 --> 01:00:00.690 Yeah, so, so he, he ends up— they kick 01:00:01.190 --> 01:00:03.230 him out of the limo. They're like, dude, okay, this isn't gonna work, get out 01:00:03.730 --> 01:00:07.250 of here. And he's being very rude, and he's about to go, and then he 01:00:07.750 --> 01:00:10.349 sticks his head and he's like, you know what, your fucking films suck now. 01:00:10.849 --> 01:00:14.510 Yeah, right. And then Jack loses his mind, gets out, and just starts punching 01:00:15.010 --> 01:00:17.490 this guy in the face. He's got him on the ground and everything. Yeah. 01:00:17.990 --> 01:00:21.210 Um, as he's kind of getting pulled off a little bit, 01:00:21.710 --> 01:00:26.110 Roller Girl comes up with— this is some real Pesci-style whooping because 01:00:26.610 --> 01:00:30.130 I can, I can very viscerally 01:00:30.630 --> 01:00:33.590 imagine the weight of a roller skate on my foot from all the times I've 01:00:34.090 --> 01:00:36.930 been roller skating. 100%. It is so heavy. Yeah, especially back then. These were not 01:00:37.430 --> 01:00:40.410 Rollerblades. These were not like made of, you know, some acrylic titanium and that thing. 01:00:40.910 --> 01:00:45.050 It's like heavy plastic and metal and that's it. Oh yeah, dude. So she, 01:00:45.550 --> 01:00:48.350 after this guy was already beaten and bloody, like, she is just stomping him, 01:00:48.850 --> 01:00:51.190 uh, with her roller skates. I thought she was killing him. I'll be honest with 01:00:51.690 --> 01:00:53.810 you. But they do, as they pull the limo away, they show that he is 01:00:54.310 --> 01:00:58.189 moving around. Yeah, so he's not dead, but oh my god, she's stomping his face. 01:00:58.389 --> 01:01:01.269 Again, the music in this whole sequence is building and building in this incredible way. 01:01:01.630 --> 01:01:04.749 And so let's cut now. So that was the entire sort of like— so 01:01:05.249 --> 01:01:08.070 while that's happening, the movie is cutting back and forth between that and Dirk standing 01:01:08.570 --> 01:01:11.810 on a street corner. Yep. A pickup truck pulls up to him. 01:01:12.310 --> 01:01:14.990 I recognize from other movies, but I don't know what now. Like, yeah, yeah, 01:01:15.490 --> 01:01:18.350 definitely. I've seen him in a few other things, and the only thing I definitely 01:01:18.850 --> 01:01:21.810 know him from is this. And when I've seen those other things, I'm like, 01:01:22.310 --> 01:01:24.760 hey, that's the guy that paid Dirk Diggler to watch him jack off. And my 01:01:25.260 --> 01:01:29.100 mom's like, what the hell? It's Christmas. So he picks Dirk up. 01:01:29.600 --> 01:01:31.140 He asks Dirk, are you waiting for somebody? He goes, yeah, but I don't know 01:01:31.640 --> 01:01:34.100 if they're coming. We don't really know what he's doing, who he's waiting for or 01:01:34.600 --> 01:01:37.500 what. I don't think that's clear at all. No, I think what he's doing is 01:01:38.000 --> 01:01:41.140 out there hustling what that guy pays him for. I kind of figured that, 01:01:41.640 --> 01:01:42.940 but I don't think, for some reason it wasn't clear to me. I wasn't sure 01:01:43.440 --> 01:01:45.140 what's going on there, but he gets in and he asks the guy for $20 01:01:45.640 --> 01:01:49.280 to watch him jerk off because, you know, inflation. I was going to say, 01:01:49.820 --> 01:01:53.510 this is subtle commentary on Reaganomics back in the '70s. It was $10. 01:01:54.010 --> 01:01:55.760 It was $10. Now it should be $20, but the guy's only got $10. 01:01:55.870 --> 01:01:58.870 So this is the crazy part to me. The dude watches him try to jerk 01:01:59.370 --> 01:02:01.909 off, and he— and Dirk's not— he's not staying hard. He can't do it, 01:02:02.409 --> 01:02:05.750 like, whatever. At which point, that's like when he decides, 01:02:05.830 --> 01:02:08.590 like, basically, dude, I can't do it. I'm just gonna, like, I'm gonna leave now. 01:02:08.649 --> 01:02:12.290 An entire other pickup truck full of guys who's clearly with this dude, 01:02:12.790 --> 01:02:15.620 yeah, all pull up and like, you shouldn't be doing this, 01:02:16.050 --> 01:02:18.490 F-slur, like, we're gonna beat you up. And they beat the shit out of him. 01:02:18.990 --> 01:02:20.930 This, you know, they're basically gay bashing because they think he's gay. Yeah, whatever. 01:02:21.480 --> 01:02:24.869 And what I didn't understand is like, what was the plan for this? Were these 01:02:25.369 --> 01:02:28.169 guys always going to drive up at that time, like randomly? Like what? Like it 01:02:28.669 --> 01:02:31.489 seemed like he was trying to get him to start doing the thing so that 01:02:31.989 --> 01:02:35.470 they'd have proof enough to like beat up Dirk Kegler. But okay, a couple 01:02:35.970 --> 01:02:39.490 problems with the scene. One, his— your friends aren't watching and 01:02:39.990 --> 01:02:43.270 trying to make sure that you're authentically enjoying this. And he's like looking and licking 01:02:43.770 --> 01:02:47.370 his lips and being like, oh, faster, faster. Yeah, he seems into it. Doesn't need 01:02:47.870 --> 01:02:52.030 to do that. Um, and also Oh, the opportunity lost. 01:02:52.530 --> 01:02:55.290 There was a guy blocks away who was definitely gonna jerk off who you could 01:02:55.790 --> 01:02:58.590 have watched if Dirk couldn't do it. The guy who just got booted out of 01:02:59.090 --> 01:03:01.670 the limo. Yeah, right. You could jerk him off for him. Yeah, he could use 01:03:02.170 --> 01:03:06.250 it. He's had a rough night. So, oh man. Yeah, so just an absolute— 01:03:06.750 --> 01:03:10.750 just a merciless beatdown of Dirk. So he's just been degraded to the maximum degree, 01:03:11.250 --> 01:03:14.370 him and Roller Girl and Jack, and just everything is shit. Yep. And as they're 01:03:14.870 --> 01:03:17.970 driving— I forget which one is driving away. I think one drives by on the 01:03:18.470 --> 01:03:20.950 road and then the other drives by the other direction. So we kind of see 01:03:21.450 --> 01:03:25.540 this action's all happening real nearby, right? And then we see this Volvo station wagon, 01:03:25.790 --> 01:03:29.250 which is Buck and Jesse. Yeah, and Jesse's pregnant. Jesse is pregnant 01:03:29.750 --> 01:03:32.530 and, uh, asks Buck for a few different donut— they're at a donut shop. 01:03:33.030 --> 01:03:34.830 She asks for a few different options, I mean, bear claws and a few other 01:03:35.330 --> 01:03:37.670 things. So he goes inside and, you know, he's feeling good about getting her some 01:03:38.170 --> 01:03:40.330 donuts. He goes and he tells a guy he wants a dozen. There's just one 01:03:40.830 --> 01:03:42.850 other dude sitting in the donut shop. It's clearly late at night. Yeah, um, 01:03:43.350 --> 01:03:45.850 I almost got the Kansas City Chiefs head coach Andy Reid. That's who I look 01:03:46.350 --> 01:03:49.020 like. But I almost got the sense that this is the parking lot that Dirk— 01:03:49.520 --> 01:03:51.360 I thought they were gonna see Dirk in that parking lot. It seemed like it 01:03:51.860 --> 01:03:54.380 was that spot. They are really near, yeah, actually. I'm not 100% sure, but they 01:03:54.880 --> 01:03:57.740 definitely don't see Dirk. You know, it doesn't happen. But basically he goes in, 01:03:58.240 --> 01:04:00.500 he orders these donuts, and as he's getting ready to leave to pay, a dude 01:04:01.000 --> 01:04:02.880 comes in to rob the donut shop. He's got a gun, he's like pointing it, 01:04:03.380 --> 01:04:04.550 "Give me the money, I'll give him the money in the safe," the whole deal. 01:04:04.940 --> 01:04:07.820 And Buck, totally reasonably, is fucking freaked out. He's got his hands up, he's like, 01:04:08.320 --> 01:04:10.820 "Okay, fine, fine, I'm not gonna touch anything," whatever. But the other motherfucker, the Andy 01:04:11.320 --> 01:04:13.420 Reid dude in the thing, has got his own gun and decides he's just gonna 01:04:13.920 --> 01:04:15.750 go in He's gonna not get up and he just pull it and like aim 01:04:16.250 --> 01:04:19.450 it at the dude. And it's like eventually, and Buck sees him and 01:04:19.950 --> 01:04:22.430 it's like, "No, no, no, don't do that, don't do that, whatever." So the guy 01:04:22.930 --> 01:04:26.210 in the booth shoots the shooter and then the shooter shoots the guy in 01:04:26.710 --> 01:04:28.590 the, the robber shoots the guy in the booth. And then as the guy in 01:04:29.090 --> 01:04:32.110 the booth is dying, his hand goes up and he pulls the trigger again and 01:04:32.610 --> 01:04:35.790 shoots the donut clerk in the head. That splatters all over 01:04:36.290 --> 01:04:39.790 Buck. So now Buck is covered in the dude's brains, but he also had the 01:04:40.290 --> 01:04:42.610 cash from the safe in the bag. Yeah, it was a paper bag full of 01:04:43.110 --> 01:04:46.110 hundreds. And so, and you know, Buck just got denied. We didn't mention this. 01:04:46.240 --> 01:04:48.120 He got denied for that loan to open his stereo store. 01:04:49.309 --> 01:04:51.970 So he decides he's going to open the stereo store with this money instead. 01:04:52.120 --> 01:04:55.700 So he takes it and goes and really, um, can't blame him, 01:04:56.200 --> 01:05:00.090 but also that's not a great choice. I don't know. Very, very Tarantino-like. 01:05:00.500 --> 01:05:04.280 Uh, yeah. The way, you know, everything went down so quickly and so 01:05:04.780 --> 01:05:08.120 unexpected. Um, which again, should mention, because we're talking about it, Tarantino, 01:05:08.620 --> 01:05:11.060 Rodriguez, Anderson, these guys were all friends with each other. They all knew each other. 01:05:11.560 --> 01:05:14.280 They're working at the same time in LA. They're all friends. They're probably watching the 01:05:14.780 --> 01:05:18.219 same old movies together and they're being influenced and watching each other's shit. 01:05:18.719 --> 01:05:21.220 Like, I mean, I've watched an interview recently from back in the, from about '98, 01:05:21.720 --> 01:05:25.140 '99 where Anderson was talking about, uh, how he saw a 01:05:25.640 --> 01:05:30.020 cut of Reservoir Dogs with Tarantino that was this super shitty, like 16mm, 01:05:30.520 --> 01:05:34.240 uh, 1:33, you know, 1:33 ratio. Like it wasn't, it was 01:05:34.740 --> 01:05:37.080 like a square. Like it wasn't, you know, it was like 4:3 instead of like 01:05:37.580 --> 01:05:39.520 widescreen. And he's like, Tarantino, you're not gonna watch this. I guess like, no, 01:05:40.020 --> 01:05:42.050 no, watch, dude. This is gonna be great. Great. Look at how good the movie 01:05:42.550 --> 01:05:44.969 is even when it's fucked up. Let's watch it. And it's like— and that's— Anderson 01:05:45.469 --> 01:05:47.830 got this idea of like, my movies need to look good even on like shitty 01:05:48.330 --> 01:05:51.750 prints, nice, with shitty audio, with whatever. It's still got to work, right? 01:05:52.250 --> 01:05:53.510 Yeah, like, dude, I don't want to be the guy that has to have a 01:05:54.010 --> 01:05:57.390 perfect, you know, environment for the movie to work. And that's a very Tarantino 01:05:57.890 --> 01:06:00.430 attitude and something that Anderson then, you know, took on himself as well. But yeah, 01:06:00.930 --> 01:06:04.670 so these guys are all buddies working in LA together and influencing each other, 01:06:05.170 --> 01:06:08.750 all around the same age. And so yeah, definitely this felt very Mexican standoff at 01:06:09.250 --> 01:06:13.609 the end of Reservoir Dogs, right? Yeah. So, so it just, 01:06:14.109 --> 01:06:17.670 it ends with that, right? We've got that cash on the ground, and now title 01:06:18.170 --> 01:06:20.850 card again, Long Way Down, parentheses, One Last Thing. 01:06:21.410 --> 01:06:24.430 Yep. We've got Todd Parker. Oh, 01:06:24.930 --> 01:06:28.390 Todd. We've got Reed, we've got Dirk, all sitting around a table 01:06:28.890 --> 01:06:32.430 kind of hatching a plan. Again, this is similar to kind of the Reservoir Dogs 01:06:32.930 --> 01:06:36.570 swingers, like, table scene that we were just talking about. Things tying these movies together. 01:06:36.660 --> 01:06:40.500 Wednesday. Yeah. Um, and then Scotty is kind of just like hanging. 01:06:40.940 --> 01:06:44.640 So to picture Scotty's existence in this friend group is very funny because 01:06:45.140 --> 01:06:48.619 he's just like there while they're doing all this stuff, and he's not fully 01:06:49.119 --> 01:06:51.900 included, but he doesn't want to go, and he's still— I don't know, it's really 01:06:52.400 --> 01:06:55.840 good. So Todd Parker has this plan, okay? And his 01:06:56.340 --> 01:06:59.500 plan is, I know this guy, uh, and Todd Parker, what his job is, 01:07:00.000 --> 01:07:02.520 is he's a dancer at like a men's, you know, kind of like Thunder from 01:07:03.020 --> 01:07:06.040 Down Under type thing or whatever. Uh, and he's like, I know this guy named 01:07:06.540 --> 01:07:10.420 Rayhad Jackson. He's, you know, into all this stuff, all these drugs, guns and 01:07:10.920 --> 01:07:13.900 stuff. He's got more money and more drugs than God. All right, 01:07:14.400 --> 01:07:16.660 he comes in the club all the time. He loves me, he knows me. 01:07:17.160 --> 01:07:19.280 Here's my plan. We're gonna get a bunch of stuff that looks like coke, 01:07:19.780 --> 01:07:22.480 sell it to him as coke, right? He just wants people hanging around his house, 01:07:22.980 --> 01:07:25.620 so he'll definitely buy it from us. Yeah, hack the money up. And then, 01:07:26.120 --> 01:07:28.400 you know, there we go. That's as far as we go with planning. We're cokeheads. 01:07:28.900 --> 01:07:30.600 Yeah. And Dirk's like, oh great, that's enough money for me to get the vet 01:07:31.100 --> 01:07:34.730 fixed because that's the most important thing. So, and this is something that is a 01:07:35.230 --> 01:07:38.330 deleted part of the movie. So, because later it 01:07:38.830 --> 01:07:41.110 shows the vet, and the vet is smashed up when it drives away. I think 01:07:41.610 --> 01:07:43.930 there was a scene in the movie where Becky, who we were at her wedding 01:07:44.430 --> 01:07:47.729 earlier, was being like beaten up by her husband, and Dirk went 01:07:48.229 --> 01:07:51.090 to go like try to help her, but he crashed his vet on the way. 01:07:51.590 --> 01:07:53.690 Oh Jesus. And ended up, you know, not being able to get to her. 01:07:54.190 --> 01:07:57.130 But I think that's why the vet is fixed. And I almost wonder if P.T. 01:07:57.630 --> 01:08:01.250 Anderson intentionally put the fucked-up vet in later with 01:08:01.750 --> 01:08:04.130 the hopes that the other stuff wouldn't get cut. You know, well, but he had 01:08:04.630 --> 01:08:07.409 final cut, so it was, it was obviously he decided to cut it because of 01:08:07.909 --> 01:08:10.130 the timing or some other reason. They did give him a time limit, so he 01:08:10.630 --> 01:08:13.169 had to make some choices there. Um, but yeah, so they decide, all right, 01:08:13.669 --> 01:08:15.960 we got some, we got some fake coke, we're gonna go to this guy's house, 01:08:16.330 --> 01:08:19.250 and that's our plan. And I love too, Dirk asks, well, what if he tests 01:08:19.750 --> 01:08:21.730 it? What if he tries out? He won't, he won't. How do you know? 01:08:21.770 --> 01:08:24.910 And that's my thought too, like, that's fucking insane. Like, every other movie I've seen 01:08:25.410 --> 01:08:27.804 where somebody goes to try to like like sell coke to somebody, they test it 01:08:28.254 --> 01:08:32.108 every time. In fact, they usually make you test it. Yeah, I mean, you stick 01:08:32.608 --> 01:08:35.110 a switchblade in the side of the cellophane and you pull it out. We all 01:08:35.610 --> 01:08:38.948 know how to do this. Exactly right. Um, I, I will say, going into this, 01:08:39.494 --> 01:08:43.283 this scene might be my favorite scene of any 01:08:43.783 --> 01:08:47.586 movie. I love it so fucking much. The whole Alfred Molina scene is just 01:08:47.618 --> 01:08:51.151 unbelievable. Loved it and also, also hated every second of it in a lot 01:08:51.651 --> 01:08:54.999 of ways. Uh, it makes you uncomfortable for sure. So uncomfortable. The dude throwing the 01:08:55.499 --> 01:08:58.758 M80s, the firecrackers, and the whole thing was just ever— I jumped with the characters 01:08:59.258 --> 01:09:02.119 every single time. Yeah, they never— I never knew when it was coming. Even you 01:09:02.619 --> 01:09:05.738 could see the guy on screen doing it, it still felt really random and this 01:09:06.238 --> 01:09:08.629 stuff. And they're super loud. At first I was like, oh, those are the loudest. 01:09:08.679 --> 01:09:11.589 Remember those poppers, the little like white things? Yes, I thought that's what they were. 01:09:11.619 --> 01:09:14.299 And then I saw them light one, I went, oh shit, they're fucking M80s. 01:09:14.799 --> 01:09:18.159 Inside a really fancy nice house. But when they first walk in though, the song 01:09:18.190 --> 01:09:21.470 song that's playing. Yes, it's Sister Christian by Night Ranger. Really good. 01:09:21.970 --> 01:09:24.989 It's a glorious song. So good. 01:09:25.489 --> 01:09:28.750 Yeah. So they get to this guy's house, okay, and he's got, you know, 01:09:29.250 --> 01:09:32.950 just your classic very nice fancy Hollywood Hills house. They get to the door and 01:09:33.450 --> 01:09:36.470 there's like a double layer of gates. He has this personal security guard who looks 01:09:36.970 --> 01:09:38.990 kind of like a Ving Rhames. I thought it might be Ving Rhames at first, 01:09:39.490 --> 01:09:40.910 and I got a better look at him, it clearly wasn't. But the first couple 01:09:41.410 --> 01:09:43.450 shots you don't really see much of him, and I thought, is that Ving Rhames? 01:09:43.950 --> 01:09:47.900 Yeah, it's not. Um, and then we've got Rayhad Jackson, who's Alfred Molina, 01:09:48.400 --> 01:09:52.119 and he's in this like silk robe. Yeah, it just clearly coked 01:09:52.619 --> 01:09:55.360 and drunk out of his mind, just dancing around his living room listening to his 01:09:55.860 --> 01:09:59.160 mixtapes and stuff. And then we've got this other guy who looks like he's 01:09:59.660 --> 01:10:03.520 12 years old. Yeah, I mean, it looks like a 12-year-old, uh, Chinese kid who's 01:10:04.020 --> 01:10:08.080 wearing like pajamas, who's kind of randomly walking around the room lighting and throwing these— 01:10:08.580 --> 01:10:12.340 yeah, these firecrackers everywhere. So yeah, throughout the scene we've got the music, 01:10:12.440 --> 01:10:15.920 and then at random intervals holes, we've got the firecrackers going off. 01:10:16.420 --> 01:10:19.780 The firecrackers were not in the script. That actor playing that part was a 01:10:20.280 --> 01:10:22.500 personal friend, not an actor at all, a personal friend of Paul Thomas Anderson who 01:10:23.000 --> 01:10:26.420 actually did that at a party. And when he did, Anderson said, you should come 01:10:26.920 --> 01:10:29.820 to the set and we're gonna use that. That's so cool. And that's what he 01:10:30.320 --> 01:10:32.900 ended up, how he added it in. So none of the actors knew that was 01:10:33.400 --> 01:10:36.640 coming when they got to set that day to film that scene. 01:10:37.140 --> 01:10:40.320 Crazy. And it's by far the most, the fucking dopest, like part of the whole 01:10:40.820 --> 01:10:43.640 scene is this crazy tension-building firecracker sound. You can see them reacting to it. 01:10:44.770 --> 01:10:48.430 Yeah, right. So, so we've got Ray Had and he's, and he's grooving out. 01:10:48.930 --> 01:10:50.190 He's like, oh, what do you guys have for me, man? They're like, oh, 01:10:50.690 --> 01:10:53.910 we got some coke. How much? How much? $5 grand. He's like, $5 grand? 01:10:54.410 --> 01:10:57.990 Okay, okay. Just super chill cuz he's got unlimited money. He just wants people hanging 01:10:58.490 --> 01:11:01.430 out, right? So they send the coke to his guy and he's walking around and 01:11:01.930 --> 01:11:05.550 all the stuff he's saying, you know, like, uh, Jack Palance won 01:11:06.050 --> 01:11:09.530 the Best Supporting Actor for City Slickers and he had a very brief scene 01:11:10.030 --> 01:11:12.770 in the movie. And I wonder if this would have been long enough for Molina 01:11:13.270 --> 01:11:14.630 to be considered for this. I think he maybe didn't move the action quite enough 01:11:16.330 --> 01:11:20.010 But I love everything he does here, right? And when he's talking about his 01:11:20.510 --> 01:11:23.669 mixtapes, yeah, what I do is I put my favorite songs on the tapes and 01:11:24.169 --> 01:11:27.650 everything. The problem Alina had with that is that Reynolds was classified 01:11:28.150 --> 01:11:30.850 as a supporting actor, so it's just he's gonna overshadow everybody else. And there were 01:11:31.350 --> 01:11:34.310 so many other great supporting parts. The beauty of Pallance in City Slickers is that 01:11:34.810 --> 01:11:38.710 you got, yeah, you got Crystal and you got Daniel Stern and you got Bruno 01:11:39.210 --> 01:11:42.190 Kirby, but then that's it. Like, that's the whole, you know, so then you bring 01:11:42.690 --> 01:11:45.440 in another guy and it can be a thing. Here you have had 7 other 01:11:45.940 --> 01:11:48.759 people who could have been Best Supporting Actors. That's very true. That's very true. 01:11:49.680 --> 01:11:53.540 Um, so, so they're doing this transaction here, 01:11:54.040 --> 01:11:56.979 and, uh, and one of the things that, uh, that Rayhead says, oh, you guys 01:11:57.479 --> 01:12:00.500 want to see something here? And he pulls out this case and he's got this 01:12:01.000 --> 01:12:04.580 really, you know, beautiful looking revolver. Yeah, the silver bullet and everything's 01:12:05.080 --> 01:12:08.460 like, oh, watch this, watch this, watch this. And he does Russian roulette on himself, 01:12:08.960 --> 01:12:12.370 but while these firecrackers are going off So he's waving this gun around and you 01:12:12.870 --> 01:12:16.450 hear these firecrackers pop, pop, pop, pop as the 3 guys sitting on 01:12:16.950 --> 01:12:20.290 the couch are like flinching with them, you know, and they're just super out of 01:12:20.790 --> 01:12:23.930 their minds. Yeah. And it's just incredibly tense. You don't know what's gonna happen. 01:12:24.430 --> 01:12:27.870 Meanwhile, bodyguard guy is apparently examining the quote Coke that they brought. 01:12:28.370 --> 01:12:30.450 So there's always— there's this tension of like, is he just gonna pop up and 01:12:30.950 --> 01:12:32.970 go, this is fucking baking powder or soda or whatever the fuck it is, 01:12:33.470 --> 01:12:35.490 baking soda, I think. But like, you know, is that something that's gonna happen right 01:12:35.990 --> 01:12:38.850 away? So there's this other thing. And so both Reed and Dirk are kind of 01:12:39.350 --> 01:12:42.650 like, "Hey, Todd, we gotta go, man. We gotta go. Let's go." 01:12:43.150 --> 01:12:46.590 And so they decide that they're gonna go, and that's when Todd's 01:12:47.090 --> 01:12:50.490 like, "No, we're not fucking going anywhere." There's a safe, there's a floor safe 01:12:50.990 --> 01:12:53.610 under the bed in the master bedroom. "I want what's in the safe." And it's 01:12:54.110 --> 01:12:57.670 like, "Whoa, dude, there's a lot of guns in this room. Where did this 01:12:58.170 --> 01:13:01.490 come from? Why is this happening now?" Yeah. And he says it so quietly at 01:13:01.990 --> 01:13:06.040 first, and he's gotta repeat himself, and he's like, like, this is a goddamn bedroom 01:13:06.540 --> 01:13:09.580 in the goddamn floor and the fucking floor and the fucking floor safe in the 01:13:10.080 --> 01:13:13.800 goddamn fucking safe. And he's just so out of his mind. There's a scene 01:13:14.300 --> 01:13:17.680 where Dirk, uh, just like fully spaces out. It just zooms 01:13:18.180 --> 01:13:21.300 in on him and he's just like fully— which I can really— like, sometimes you're 01:13:21.800 --> 01:13:24.820 in these surreal situations where you're just like out of it for a minute because 01:13:25.320 --> 01:13:28.780 it wasn't even like he changed his behavior after that little space out, you know. 01:13:29.280 --> 01:13:32.930 He gets right back into it. Yeah. So yeah, so Todd pulls 01:13:33.430 --> 01:13:36.909 out his gun and he's, you know, threatening Rahad. 01:13:37.409 --> 01:13:41.250 He shoots the bodyguard. Uh, Rahad comes out of the bedroom with a 01:13:41.750 --> 01:13:45.530 shotgun, just kills Todd right away. Yeah. And then Reed and Dirk take off 01:13:46.030 --> 01:13:48.490 out the door. They're getting shot at. They're getting shot at. It's like they've got 01:13:48.990 --> 01:13:52.170 the vet in neutral. They got the vet in neutral, like rolling down the street. 01:13:52.670 --> 01:13:55.250 And like, you know, Dirk's able to get into it while the guy, you know, 01:13:55.750 --> 01:13:58.350 still shooting it up. Reed has to run off another direction. Yeah. I was worried 01:13:58.850 --> 01:14:00.050 about Reed, I gotta be honest. I was like, shit, is the guy gonna like 01:14:00.550 --> 01:14:04.090 hunt Reed down now? But sure enough, they go. Of course, he also, you know, 01:14:04.590 --> 01:14:07.170 Dirk out of money, his car is running out of gas. Yeah. So it stops 01:14:07.670 --> 01:14:10.030 and he has to push it all the way to Jack's house, basically in the 01:14:10.530 --> 01:14:13.530 morning. Now it's hours and hours. Yeah. That he gets to Jack's house. 01:14:13.650 --> 01:14:17.430 And this is another scene, both a great scene, both for Wahlberg and for Reynolds, 01:14:17.970 --> 01:14:21.450 where, you know, Dirk walks into Jack's house and Jack's like making breakfast 01:14:21.950 --> 01:14:25.450 or something. He's in the kitchen. And basically Dirk's just like, I'm sorry, but I 01:14:25.950 --> 01:14:27.980 need your help, Jack. Can you help me? Me. Like, I need your help. 01:14:28.480 --> 01:14:31.780 I don't know where to go. It's very vulnerable, uh, and it's, and it's the, 01:14:32.280 --> 01:14:34.300 you know, where this is one of the many ways in which the beginning and 01:14:34.800 --> 01:14:38.780 the ending of this movie rhyme, where, uh, it's clear that Jack and Amber are 01:14:39.280 --> 01:14:41.980 mom and dad and that this is a family, and it is better than the 01:14:42.480 --> 01:14:45.220 family he had. The mother that he had that was his actual mother didn't want 01:14:45.720 --> 01:14:48.540 him and threw him out and said horrible things to him, things that Amber would 01:14:49.040 --> 01:14:52.420 never say to him. Um, you know, his dad was completely ineffectual 01:14:52.920 --> 01:14:56.180 and did stand up to his mother on Dirk's 01:14:56.680 --> 01:15:00.720 behalf or Eddie's behalf. Yeah. And yet Jack is here to be protective 01:15:01.220 --> 01:15:04.540 and to be supportive and to be— to give him something to do. 01:15:05.040 --> 01:15:07.720 And now look, you can make all the judgments you want about the actual act 01:15:08.220 --> 01:15:11.080 of making pornographic films. I can, you know, whatever. In my mind, consenting adults are 01:15:11.580 --> 01:15:15.300 consenting adults. They do whatever the fuck they want. But you cannot deny 01:15:15.800 --> 01:15:19.200 that Jack and Amber's attitude towards these people, especially the younger people, 01:15:19.210 --> 01:15:23.070 like Dirk and Roller Girl, but even to Reed and to some others, is very 01:15:23.570 --> 01:15:26.830 familial, very parental, very protective. Yeah. And it's something that they weren't getting 01:15:27.330 --> 01:15:30.690 anywhere else in their lives. This is, this is the San Fernando 01:15:31.190 --> 01:15:35.030 Valley suburban white person gang. No, you know, seriously is. I mean, 01:15:35.530 --> 01:15:39.690 it's like people— the idea is like everyone deserves to have this 01:15:40.190 --> 01:15:43.770 kind of a situation, whoever it is. Like, everyone deserves love and 01:15:44.270 --> 01:15:47.190 a sense of belonging and a sense of community. And sometimes these gangs, these groups 01:15:47.690 --> 01:15:50.440 of The Misfits have to form their own version of it. And yeah, that's such 01:15:50.940 --> 01:15:54.280 a good point that it's like, you know, uh, if O-Dog had a, 01:15:54.780 --> 01:15:58.019 had a huge cock, um, maybe Jack would help him out, get more 01:15:58.519 --> 01:16:01.800 cheeseburgers. Yeah. So, but yeah, I mean, it is, it is 01:16:02.300 --> 01:16:06.240 like so powerful, Dirk coming back. And so not, not saying 01:16:06.740 --> 01:16:09.780 that Jack owes him anything, not making it sound like I made you all this 01:16:10.280 --> 01:16:13.400 money, just fully like, I am at your mercy. Like, I, 01:16:13.900 --> 01:16:16.900 you know, and then Jack takes him in. He doesn't do what Paulie does in 01:16:17.400 --> 01:16:20.880 Goodfellas where he sends Henry, you know, walking. You know, he hugs him, he brings 01:16:21.380 --> 01:16:23.880 him back into the fold because he also— I think, you know, Jack knows this 01:16:24.380 --> 01:16:27.089 was a kid who got in over his head, got too big for his britches, 01:16:27.099 --> 01:16:30.130 said some stupid shit. I threw him out when I should have thrown him out, 01:16:30.340 --> 01:16:33.640 but now he's back and he's clearly— there's— he's contrite, he's, 01:16:34.140 --> 01:16:37.480 he's, you know, uh, uh, you know, he feels horrible about what he said 01:16:37.980 --> 01:16:40.279 and did. And, and why wouldn't I take him back? You Yeah, you know, 01:16:40.779 --> 01:16:42.760 and I think it's fantastic. And so, and then we get all these kind of 01:16:43.260 --> 01:16:46.400 like wrap-up sort of elements, different people. So we see Buck has opened his store 01:16:46.900 --> 01:16:49.680 with the money he got from the donut robbery. Uh, the ad for the store 01:16:50.180 --> 01:16:54.059 says, 'Come inside us.' Really good. That's so good. Um, 01:16:54.559 --> 01:16:56.880 and then we've got 'God Only Knows' by the Beach Boys, one of my favorite 01:16:57.380 --> 01:17:00.140 songs of all time, which is one of my favorite songs. It's so powerful. 01:17:00.640 --> 01:17:03.920 So fucking powerful. And we get Roller Girl sitting for her GEDs. She's getting her 01:17:04.110 --> 01:17:07.840 GED. And then Maurice has gotten his brothers in from Puerto Rico, and they're 01:17:08.340 --> 01:17:11.220 changing up the name of the, uh, nightclub, which I think was like Hit Tracks 01:17:11.720 --> 01:17:15.140 or something, or someone. And now it's the— well, it should be the Rodriguez 01:17:15.640 --> 01:17:18.719 Brothers Nightclub, but it says Rodriguez, and it's like a Q instead of 01:17:19.219 --> 01:17:22.420 a G, and they notice and go, oh shit. 01:17:22.920 --> 01:17:26.260 Um, yeah, we see the Colonel, you know, being like beaten up 01:17:26.760 --> 01:17:29.920 by his cellmate in jail. So we see some of that. Reed is now like 01:17:30.420 --> 01:17:32.880 kind of a— kind of like a horny magician kind of guy, one of those 01:17:33.380 --> 01:17:35.100 adult magician acts with a topless assistant. Yeah. 01:17:36.720 --> 01:17:40.579 Um, and Buck and Jesse have their baby. Yes, that's right. 01:17:41.079 --> 01:17:44.120 Yeah, so then we, we kind of get like a little while later than this 01:17:44.620 --> 01:17:47.099 because now the baby's like a little— the baby's like maybe 6 months or something. 01:17:47.599 --> 01:17:50.360 Yeah, it's in the pool. Um, Becky, um, and, and we have the score again. 01:17:50.860 --> 01:17:53.900 We have this very like slow score and it's Jack kind of walking through his 01:17:54.400 --> 01:17:57.060 house. And this is really showing the sense of family. And he's even saying stuff 01:17:57.560 --> 01:17:59.460 to Roller Girl like, clean up, I want you to take the mess from one 01:17:59.960 --> 01:18:01.780 side of your room and push it over to the other side of your room. 01:18:02.280 --> 01:18:05.640 It'll look cleaned up. Yeah, it's so dad-like, you know. 01:18:06.140 --> 01:18:09.919 He's just— he's really good. But, but I had a huge problem with this movie, 01:18:09.940 --> 01:18:13.140 and, and I think a lot about the, the make it look like an accident 01:18:13.640 --> 01:18:15.760 from Desperado. All right, one line taking you out of the movie. 01:18:15.960 --> 01:18:19.420 Yeah, Jack is walking through the house and he goes outside and Reed 01:18:19.920 --> 01:18:23.240 is in the pool playing with Buck and Jesse's little baby. Yeah, yeah, super cute. 01:18:23.740 --> 01:18:27.640 And Jesse's painting a painting of them, and Jack is like, that kid's 01:18:28.140 --> 01:18:30.590 not gonna piss in the pool, is he? It's It's like, Jack, is piss your 01:18:31.090 --> 01:18:34.990 biggest pool concern? Is it not a chlorinated pool? Is your biggest concern, 01:18:35.490 --> 01:18:38.510 sir? I, I read that, I'll be honest with you, first time watching it, 01:18:39.010 --> 01:18:42.550 but I read that as, as him telling a joke and Becky not getting it. 01:18:43.050 --> 01:18:45.390 That's how I read that. Like, but, but maybe that wasn't Jack telling it. 01:18:45.890 --> 01:18:47.840 I didn't think he was actually concerned. I thought that was him telling a joke. 01:18:47.950 --> 01:18:50.670 But yeah, um, but yeah, but Dirk's back in the game now too. Yeah, 01:18:51.170 --> 01:18:53.610 he's back in the game and, you know, he does— he's hyping himself up, 01:18:54.110 --> 01:18:57.680 he's going over his lines And this is when we get the reveal. Unfortunately for 01:18:58.180 --> 01:19:01.859 Mr. Wahlberg, we all know a prosthetic, not actually his member, but he does pull. 01:19:02.359 --> 01:19:05.379 It's crazy. They had to make a smaller prosthetic to strap my real dick down. 01:19:05.879 --> 01:19:08.950 Supposedly by legend, Willem Dafoe could have played this role without a prosthetic, 01:19:09.040 --> 01:19:12.420 at least is what we've been told in the past. But yeah, he reveals, 01:19:12.920 --> 01:19:15.400 he pulls the cock out and sort of, you know, lets it hang there. 01:19:15.900 --> 01:19:18.000 And he's, I am a superstar or whatever, right? So he says superstar, it's like 01:19:18.500 --> 01:19:20.780 our shining star. It's one of the two. But yeah, that's it. That's how it 01:19:21.280 --> 01:19:24.650 ends basically. And that's it. Yeah, ends with the dong. So we finally get 01:19:25.150 --> 01:19:27.609 to see the dong at the end of this thing. Yeah, that's what they did. 01:19:28.109 --> 01:19:30.289 I think it was good. It was sort of a, you know, it seemed like 01:19:30.789 --> 01:19:33.190 it could have been like a MacGuffin where we just never saw it. But I 01:19:33.690 --> 01:19:35.830 think showing it at the end is the right call. It's, it's a rated R 01:19:36.330 --> 01:19:39.450 movie that was flirting with an NC-17. Yeah, go ahead and show it to 01:19:39.950 --> 01:19:41.870 us. Yeah, what the hell? We've been hearing about it for 2 and a half 01:19:42.370 --> 01:19:46.070 hours, you know, it's like, so, so that's Boogie Nights. So that's Boogie Nights. 01:19:46.570 --> 01:19:50.180 Well, this is my selection. Yeah. I'll kick it off here. Um, no surprise. 01:19:50.570 --> 01:19:54.130 I mean, I really feel like this movie is a 01:19:54.630 --> 01:19:58.980 fucking masterpiece. Like, with what he took for $15 million, 01:19:59.189 --> 01:20:02.470 and it's kind of like, that's the minimum budget you would need to like 01:20:02.970 --> 01:20:06.330 clear this music and hire these actors and stuff like that. 01:20:06.830 --> 01:20:09.690 Like, I don't think P.T. Anderson was like, okay, 7 for the movie and 8 01:20:10.190 --> 01:20:13.130 for my pocket. No, no. Everything you see on the screen here. Yeah. 01:20:13.280 --> 01:20:16.740 The amount of actors who were like character actors 01:20:17.240 --> 01:20:20.060 at this time who went on to like be stars of their own movies or 01:20:20.560 --> 01:20:23.900 TV shows is incredible. Like, the number of people we see in this— I think 01:20:24.400 --> 01:20:27.320 all the performances are perfect. And then the themes of the movie, like just that 01:20:27.820 --> 01:20:31.330 you deserve to have a family. Like, there's a real sweetness to this. 01:20:32.040 --> 01:20:35.480 It's a challenging movie. I don't expect everyone to love it because there's parts of 01:20:35.980 --> 01:20:38.720 it that are tough to watch, that are disturbing. It's very long. Like, there's things 01:20:39.220 --> 01:20:42.600 about it that, that wouldn't draw everyone in. Um, and the 01:20:43.100 --> 01:20:46.779 last thing I will say is that if you do like this movie, there are, 01:20:47.279 --> 01:20:50.860 um, great special features if you ever get a hold of the 01:20:51.360 --> 01:20:54.900 DVD. The deleted scenes, some of the funniest stuff I've ever seen. There's extended 01:20:55.400 --> 01:20:58.680 scenes of Dirk and Reed recording their music and like mixing the music, 01:20:59.180 --> 01:21:02.200 which is great. Um, throughout the movie Maurice talks about how he wants to be 01:21:02.700 --> 01:21:05.060 in the movies, and there's a really funny scene of him trying to do do 01:21:05.560 --> 01:21:08.720 a scene with Roller Girl. Oh, interesting. Failing at it. Um, 01:21:09.220 --> 01:21:12.579 and there's more scenes of Todd Parker doing coke. So it's worth seeing that. 01:21:13.079 --> 01:21:16.139 And some stuff actually makes parts of the movie make sense. I think somewhere there's 01:21:16.639 --> 01:21:20.040 a reference that the new porn star Johnny, uh, Johnny Doe 01:21:20.540 --> 01:21:23.180 was killed in a car accident. Oh, and I wonder if that's— he did disappear 01:21:23.680 --> 01:21:27.200 at one point. Yeah. So I wonder if that's removed because it makes it less 01:21:27.700 --> 01:21:31.200 impactful that Jack allowed Dirk back in. Fair. Because like, you know, then he 01:21:31.700 --> 01:21:33.900 would be like, well, I also need a new guy. That's true. 01:21:35.310 --> 01:21:37.640 Anyway, I think this movie was great. 01:21:38.669 --> 01:21:41.709 I— the original title that Paul Thomas Anderson picked, 01:21:42.209 --> 01:21:45.870 There Will Be Cum, I guess they didn't, they didn't use that. This is 01:21:46.370 --> 01:21:48.290 a masterpiece to me. This is a 5 out of 5. I love this movie 01:21:48.790 --> 01:21:52.590 so much, and, and I hope that people have enjoyed it and 01:21:53.090 --> 01:21:56.330 enjoyed hearing us chat about it. Yeah, so I, you know, there's a great score, 01:21:56.490 --> 01:22:00.070 obviously, you know, it's hard to argue against. It's hard to ask for anything from 01:22:00.570 --> 01:22:03.470 this movie that it doesn't give review. Um, I had never seen it before, 01:22:03.970 --> 01:22:06.510 so I came in fresh, saw it the first time this week. Um, it really 01:22:07.010 --> 01:22:09.390 was a great experience. It is a long movie. It takes a little while to 01:22:09.890 --> 01:22:12.329 sort of, you know, get through the whole thing, but it also, it also doesn't 01:22:12.829 --> 01:22:16.050 feel fat. Like, it does still feel like it's pretty lean. It gives us 01:22:16.550 --> 01:22:20.210 a lot of stuff in montage. It's telling us, you know, 7-ish years worth 01:22:20.710 --> 01:22:24.630 of life for, for 10 characters. Yeah. So there's a lot going on. 01:22:25.140 --> 01:22:28.040 Um, I am a huge Paul Thomas Anderson fan. I don't know anybody who who 01:22:28.540 --> 01:22:31.380 isn't at least a fan of at least one or two Paul Thomas Anderson movies, 01:22:31.880 --> 01:22:34.440 right? Like, you may not love everything he's done, but, you know, people who maybe 01:22:34.940 --> 01:22:38.300 hate Magnolia might love Punch-Drunk Love, or maybe, you know, you're not 01:22:38.800 --> 01:22:41.150 a fan of This, but you're big into, you know, There Will Be Blood, 01:22:41.260 --> 01:22:44.600 like, whatever, right? The guy's got such range as a filmmaker. I'm a little worried 01:22:45.100 --> 01:22:47.000 about grade inflation because this is the second week in a row that we're giving 01:22:47.500 --> 01:22:49.320 a 10 out of 10 to a movie, but it is what it is. 01:22:49.820 --> 01:22:51.960 Boogie Nights is a 5 out of 5 for me. I cannot ask for anything 01:22:52.460 --> 01:22:55.850 from this movie it doesn't give us. It's spectacular. So yeah, 10 out of 10 01:22:56.350 --> 01:22:59.650 from the 2 Dads 1 Movie. Fantastic movie. Thank you. I brought Steve 01:23:00.150 --> 01:23:02.490 one that he liked. I'm very happy about this. You've done a couple. Yes. 01:23:02.990 --> 01:23:05.399 But this might be the first non-thriller that you've brought that I really like. 01:23:05.410 --> 01:23:08.790 That's true. Yeah. Not in your niche. All right. 01:23:09.290 --> 01:23:12.790 So next week we are up to 1998 because this is a David Zucker movie 01:23:13.290 --> 01:23:15.390 we're going to go watch. And we've seen Zucker do this. It was not with 01:23:15.890 --> 01:23:18.650 Abrahams and not with his brother Jeff, but this is a David Zucker joint from 01:23:19.150 --> 01:23:22.510 1998. 1998, starring the creators of South Park, Matt Stone and Trey 01:23:23.010 --> 01:23:26.319 Parker, who of course have gone on now to nearly— they're almost EGOT status. 01:23:26.369 --> 01:23:29.330 They've got Tonys, they have Oscar nominations. I'm pretty sure they have Grammys. I know 01:23:29.830 --> 01:23:31.950 they have Emmys. So they're getting close to every, you know, to be able to 01:23:32.450 --> 01:23:36.190 do that. The movie's called Basketball, and it definitely flew under the radar. 01:23:36.690 --> 01:23:40.070 It was a bomb in the theaters. It took on, you know, a life of 01:23:40.570 --> 01:23:43.810 its own on DVD. And the fact that Comedy Central played an edited 01:23:44.310 --> 01:23:47.060 version of it every single night for like 4 years or whatever. Yeah. You know, 01:23:47.560 --> 01:23:50.410 from '99 to 2003, you could watch it every single night on Comedy Central. 01:23:50.639 --> 01:23:53.659 But Basketball is my pick for 1998. I think it's gonna 01:23:54.159 --> 01:23:56.480 be a lot of fun. I haven't seen it in years, but like, this is 01:23:56.980 --> 01:24:00.620 one of, this is one of the last comedies that has that ZAZ style where 01:24:01.120 --> 01:24:04.200 every moment is loaded with jokes. Yeah. Joke, joke, joke, joke, 01:24:04.700 --> 01:24:07.750 joke, joke, joke. And we would go from that to, in the early 2000s, 01:24:07.900 --> 01:24:11.700 you start thinking about old school Anchorman, Step Brothers, 01:24:12.200 --> 01:24:15.120 where you've got that Adam McKay or Judd Apatow style where, you know, 01:24:15.620 --> 01:24:17.780 the humor's there, but it's a little bit— it's a lot more based on improv 01:24:18.280 --> 01:24:21.020 between the actors and character stuff, the character stuff, 01:24:21.520 --> 01:24:24.079 whatever, and a little, a little more heart potentially. But this was— this style of 01:24:24.579 --> 01:24:27.460 comedy is kind of like last gasp, uh, and I think Baseball is brilliant. 01:24:27.960 --> 01:24:30.880 So have you seen Baseball? Dude, I have not seen it in a long time. 01:24:31.380 --> 01:24:33.800 I used to love it. Perfect. And, and I, and I hope that I still— 01:24:34.300 --> 01:24:37.560 I still say Steve Perry when I want somebody to to miss something. There's so 01:24:38.060 --> 01:24:41.340 much from this movie that, that is used in everyday life. I'm really excited 01:24:41.840 --> 01:24:44.099 to talk about this one. I don't know anyone named Joe Cooper, and I still 01:24:44.599 --> 01:24:47.480 find ways to fit— it certainly does seem to be raining shit on Joe Cooper— 01:24:47.980 --> 01:24:51.380 into regular conversation if I can. Um, so yeah, so next week we will watch 01:24:51.880 --> 01:24:54.970 Basketball. Very excited about that. That's a wrap. So if you like what you hear, 01:24:55.080 --> 01:24:58.180 please consider heading over to Apple or Spotify and leaving us a 5-star review. 01:24:58.680 --> 01:25:00.920 It helps new folks find the show. Be sure to check out our website at 01:25:01.420 --> 01:25:04.340 2 Dads 1 Movie 2dads2decades.com. That's the number 2 and the number 1. There you 01:25:04.840 --> 01:25:07.720 can explore the movies we've covered, sign up for our newsletter, The Rewind, and even 01:25:08.220 --> 01:25:11.740 get sneak previews of upcoming episodes. Once again, this has been Boogie Nights, 01:25:12.240 --> 01:25:14.660 another episode of 2 Dads 1 Movie. I'm Steve. And I'm Nic. Thank you so 01:25:15.160 --> 01:25:16.460 much for listening, and we'll catch you next week. Thanks,